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 Poland and from Cairo.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Bremen.
I'm losing my edge to the art-school Glasgow 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Graham Central Station to the jazz kids.
I played it at the Crocodile.
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 Harry Pussy. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Smog,
Gang Gang Dance,
The Moody Blues,
The Real Kids,
Monolake,
the Fania All-Stars,
Sparks,
Sound Behaviour,
John Foxx,
The Dave Clark Five,
Khruangbin,
Suicide,
Loose Ends,
Josef K,
Sun Ra,
Chris & Cosey,
Pussy Galore,
In Retrospect,
E-Dancer,
Stockholm Monsters,
Nick Cave & The Bad Seeds,
Ash Ra Tempel,
The Trojans,
Monks,
the Germs,
Matthew Bourne,
Tears for Fears,
Big Daddy Kane,
Black Pus,
Audionom,
Yusef Lateef,
The Cure,
Idris Muhammad,
Electric Light Orchestra,
The Leaves,
Interpol,
Amon Düül II,
R.M.O.,
Peter Gordon & Love of Life Orchestra,
Desert Stars,
Adolescents,
James Chance & The Contortions,
Jeff Mills,
Technova,
Banda Bassotti,
Arthur Verocai,
Amazonics,
10cc,
Jawbox,
Todd Rundgren,
Brothers Johnson,
The Misunderstood,
Stereo Dub,
Sonny Sharrock,
Yellowson,
The Fortunes,
Warsaw,
Frankie Knuckles,
Japan,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.