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 Norway and from Mumbai.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Accra and Stockholm.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
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 Charles Mingus to the punk kids.
I played it at the Spitz.
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 Peter and Kerry. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Roy Ayers Ubiquity,
Delon & Dalcan,
AZ,
Kango’s Stein Massive,
Eurythmics,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Association,
New York Dolls,
Swans,
The Names,
The Mummies,
Avey Tare's Slasher Flicks,
Sound Behaviour,
Slave,
Röyhkä ja Rättö ja Lehtisalo,
Silicon Teens,
Thinking Fellers Union Local 282,
The Fuzztones,
Flamin' Groovies,
The Happenings,
Livin' Joy,
Main Source,
Gang Gang Dance,
Jerry's Kids,
The American Breed,
Pole,
The Black Dice,
Lucky Dragons,
La Düsseldorf,
John Holt,
the Fania All-Stars,
The Pretty Things,
Echospace,
Barclay James Harvest,
DJ Sneak,
Colin Newman,
The Neon Judgement,
Cheater Slicks,
OOIOO,
The Slackers,
Lalo Schifrin,
Idris Muhammad,
Siglo XX,
The Detroit Cobras,
Neil Young & Crazy Horse,
Blossom Toes,
Soft Cell,
Ultra Naté,
Notorious Big And Bone Thugs,
The Toasters,
Bill Near,
The Zeros,
The Young Rascals,
Sun City Girls,
The Human League, The Human League, The Human League, The Human League.
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.