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 Maldives and from Philadelphia.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Yellowson to the grime kids.
I played it at the Astoria.
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 The Toasters. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every Gichy Dan 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 '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Sarah Menescal,
Rod Modell,
Kerri Chandler,
Jesper Dahlback,
Ornette Coleman,
The Seeds,
Kaleidoscope,
Lalann,
Blancmange,
Parry Music,
Eli Mardock,
Chrome,
John Cale,
Derrick May,
Infiniti,
Dr. Dre and Snoop Doggy Dog,
Charles Mingus,
the Bar-Kays,
The United States of America,
Ultramagnetic MC's,
The Skatalites,
Shoche,
Tim Buckley,
The Fortunes,
Bang on a Can All-Stars,
Tropical Tobacco,
The Music Machine,
Idris Muhammad,
Anakelly,
Funky Four + One,
Crime,
Louis and Bebe Barron,
the Human League,
Yellowson,
The Associates,
The Motions,
Icehouse,
Newcleus,
Stockholm Monsters,
Mad Mike,
The Mummies,
The Victims,
the Swans,
Bootsy Collins,
Jandek,
Davy DMX,
Althea and Donna,
Gang Green,
Captain Beefheart & His Magic Band,
Bizarre Inc.,
Cluster,
The Velvet Underground,
Kerrie Biddell,
DNA,
a-ha,
The Sisters of Mercy,
Lucky Dragons,
Gary Puckett & The Union Gap,
One Last Wish,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.