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 Algeria and from Manila.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Paris and Beijing.
I'm losing my edge to the art-school Lagos 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Black Pus to the electroclash 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 Blossom Toes. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Pet Shop Boys,
Siouxsie and the Banshees,
James White and The Blacks,
Chris Corsano,
Monks,
Kerrie Biddell,
Fad Gadget,
Derrick May,
Procol Harum,
Chris & Cosey,
New York Dolls,
Jimmy McGriff,
The Blues Magoos,
R.M.O.,
Maleditus Sound,
Section 25,
Malaria!,
Grandmaster Flash,
The United States of America,
Joe Smooth,
Alton Ellis,
Radio Birdman,
Max Romeo,
Sun Ra Arkestra,
Jeff Mills,
Tom Boy,
Sad Lovers and Giants,
Second Layer,
Dennis Brown,
Lungfish,
Johnny Osbourne,
The Gories,
Vainqueur,
Stockholm Monsters,
Throbbing Gristle,
The Jesus and Mary Chain,
X-Ray Spex,
UT,
Country Joe & The Fish,
Arab on Radar,
Notorious BIG live in Amsterdam,
the Swans,
Moby Grape,
The Monks,
Rotary Connection,
Amazonics,
K-Klass,
Notorious Big And Bone Thugs,
The Human League,
In Retrospect,
Gil Scott Heron,
The Index,
Sex Pistols,
Funky Four + One,
Ossler,
Mary Jane Girls,
Severed Heads,
Todd Terry,
Dave Gahan,
The Gun Club,
Zapp,
Crispian St. Peters,
A Certain Ratio,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.