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 Ghana and from Stockholm.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Calgary and Johannesburg.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Aswad to the rock kids.
I played it at the 40 Watt.
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 Graham Central Station. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Maurizio,
Quando Quango,
Lou Christie,
Youth Brigade,
Andrew Ashong & Theo Parrish,
Whodini,
Warsaw,
Kings Of Tomorrow,
R.M.O.,
Cameo,
the Bar-Kays,
Sarah Menescal,
Ohio Players,
The Wake,
Max Romeo,
Unwound,
Robert Hood,
Eric B and Rakim,
Dave Gahan,
Gian Franco Pienzio,
Jacob Miller,
Sun City Girls,
Eric Dolphy,
Echospace,
Crispian St. Peters,
the Fania All-Stars,
Ludus,
Marcia Griffiths,
The Fall,
Rosa Yemen,
The Blackbyrds,
Aswad,
Henry Cow,
Tears for Fears,
Drexciya,
ABC,
The Raincoats,
Charles Mingus,
Ultra Naté,
Teenage Jesus and the Jerks,
Talk Talk,
Amon Düül II,
Grandmaster Flash,
Soul Sonic Force,
The Invisible,
Piero Umiliani,
Parry Music,
The Gun Club,
Fat Boys,
Marmalade,
Los Fastidios,
Y Pants,
The Gories,
Thee Headcoats,
The United States of America,
AZ,
Jimmy McGriff,
The Grass Roots,
Godley & Creme,
Michelle Simonal,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.