Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Vietnam and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1976.
I'm losing my edge.
To all the kids in Paris and Lagos.
I'm losing my edge to the art-school New York kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing In Retrospect to the punk kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Vainqueur. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Leaves record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Simply Red,
Surgeon,
The Sonics,
Alphaville,
Ash Ra Tempel,
Suicide,
Godley & Creme,
Hoover,
Don Cherry,
Moby Grape,
The Black Dice,
Deutsch Amerikanische Freundschaft,
Eddi Front,
Roy Ayers,
These Immortal Souls,
Index,
Au Pairs,
Morten Harket,
Pharaoh Sanders and the Fire Engines,
Jerry Gold Smith,
Half Japanese,
Section 25,
Lower 48,
Mantronix,
Avey Tare's Slasher Flicks,
Model 500,
Joe Finger,
La Düsseldorf,
Skaos,
CMW,
The Sound,
Qualms,
The Mojo Men,
Moebius,
The Cowsills,
Jacques Brel,
Kerri Chandler,
Chris Corsano,
Michelle Simonal,
Japan,
Depeche Mode,
Robert Hood,
Johnny Clarke,
Neu!,
Mission of Burma,
Be Bop Deluxe,
The Beau Brummels,
Yellowson,
Ultravox,
Roger Hodgson,
Amon Düül,
Roxette,
Jeff Lynne,
Yusef Lateef,
Pagans,
the Association,
Lalann,
New Age Steppers,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.