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 Gabon and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1976.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 The Busters to the funk kids.
I played it at Trash.
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 Names. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Faraquet 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Blossom Toes,
U.S. Maple,
Von Mondo,
Funkadelic,
Stetsasonic,
DNA,
Sun Ra,
Sonic Youth,
Minnie Riperton,
Trumans Water,
Brothers Johnson,
Quadrant,
Todd Rundgren,
Shuggie Otis,
Eden Ahbez,
Fad Gadget,
Nick Cave & The Bad Seeds,
Strawberry Alarm Clock,
Leonard Cohen,
The Index,
Piero Umiliani,
Susan Cadogan,
Newcleus,
Sugar Minott,
David Axelrod,
Arcadia,
Marmalade,
Funky Four + One,
Bill Wells,
Visionaries,LMNO, T- Love & Iriscience,
Ornette Coleman,
The Raincoats,
Monks,
Theoretical Girls,
Animal Collective,
New Age Steppers,
Roy Ayers,
A Flock of Seagulls,
A Certain Ratio,
Outsiders,
Japan,
Radiohead,
Laurel Aitken,
The Barracudas,
Eurythmics,
Derrick May,
The Motions,
X-Ray Spex,
Sam Rivers,
Scott Walker,
Peter Gordon & Love of Life Orchestra,
Oblivians,
Mo-Dettes,
PIL,
the Human League,
The Last Poets,
Pantaleimon,
June Days,
Bluetip,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.