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 Uzbekistan and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Cairo and Bologna.
I'm losing my edge to the art-school Toronto 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 linndrum 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 Thinking Fellers Union Local 282 to the disco 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 Can. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ronan record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Cameo,
Eve St. Jones,
Andrew Hill,
Ultimate Spinach,
The Raincoats,
Lindisfarne,
Minnie Riperton,
James Chance & The Contortions,
Shoche,
Icehouse,
Pulsallama,
Alphaville,
Scan 7,
LL Cool J,
Andrew Ashong & Theo Parrish,
Sunsets and Hearts,
Eli Mardock,
Cecil Taylor,
10cc,
Rufus Thomas,
The Moody Blues,
Grey Daturas,
The Skatalites,
Eric B and Rakim,
Deepchord,
Donald Byrd,
Dave Gahan,
Soft Machine,
Graham Central Station,
Porter Ricks,
The Peanut Butter Conspiracy,
Carl Craig,
The Blues Magoos,
Lungfish,
Delta 5,
Grandmaster Flash and the Furious Five,
Wings,
Inner City,
The Zeros,
Dr. Dre and Snoop Doggy Dog,
Rites of Spring,
Lafayette Afro Rock Band,
Soulsonic Force,
Roy Ayers,
Bob Dylan,
Excepter,
Model 500,
Juan Atkins,
Barry Ungar,
Qualms,
Hoover,
Nation of Ulysses,
Bad Manners,
The Standells,
Grandmaster Flash,
Reuben Wilson,
the Soft Cell,
The Jesus and Mary Chain,
Lakeside,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.