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 Belarus and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Houston 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 oboe 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 Eden Ahbez to the techno kids.
I played it at the Roxy.
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 Fall. All the underground hits.
All The Five Americans tracks. I heard you have a vinyl of every Stiv Bators record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Kauko Röyhkä ja Narttu,
Pantaleimon,
Zapp,
Anthony Braxton,
Echospace,
Bobby Womack,
The Birthday Party,
Rahsaan Roland Kirk,
Swans,
The Velvet Underground,
Flipper,
Max Romeo,
Juan Atkins,
Quando Quango,
Alphaville,
Al Stewart,
Selector Dub Narcotic,
Public Image Ltd.,
Lightning Bolt,
Nick Fraelich,
The Happenings,
Eden Ahbez,
World's Most,
Dawn Penn,
De La Soul & Jungle Brothers,
The Jesus and Mary Chain,
X-Ray Spex,
the Bar-Kays,
Pharaoh Sanders and the Fire Engines,
Von Mondo,
Liaisons Dangereuses,
T.S.O.L.,
Wasted Youth,
Kango’s Stein Massive,
Brass Construction,
The Tremeloes,
Connie Case,
Erasure,
Scion,
Steve Hackett,
Minny Pops,
Sam Rivers,
Marcia Griffiths,
Ultimate Spinach,
Metal Thangz,
Vaughan Mason & Crew,
The Vogues,
Tim Buckley,
Marc Almond,
Ultramagnetic MC's,
Bush Tetras,
Funky Four + One,
Boogie Down Productions,
U.S. Maple,
Brick,
Bootsy's Rubber Band,
The Five Americans,
Silicon Teens,
Joey Negro, Joey Negro, Joey Negro, Joey Negro.
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.