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 Montenegro and from Lille.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Spokane.
I'm losing my edge to the art-school Johannesburg 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Roxy Music to the jazz kids.
I played it at CBGB's.
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 Roger Hodgson. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Leonard Cohen,
Half Japanese,
Teenage Jesus and the Jerks,
Cabaret Voltaire,
De La Soul & Jungle Brothers,
Delta 5,
Bauhaus,
Massinfluence,
Jesper Dahlbäck,
The Monks,
Godley & Creme,
Black Bananas,
Ohio Players,
Radio Birdman,
The Fire Engines,
The Cosmic Jokers,
The Offenders,
Josef K,
Aural Exciters,
Howard Jones,
Unwound,
June Days,
The Index,
Amon Düül II,
Das Ding,
R.M.O.,
Liaisons Dangereuses,
The Black Dice,
Selector Dub Narcotic,
John Holt,
Ken Boothe,
Matthew Bourne,
Junior Murvin,
Major Organ And The Adding Machine,
Eric Copeland,
Liliput,
The Pretty Things,
Sun Ra,
Cluster,
Erasure,
Warren Ellis,
Skriet,
Model 500,
The Mojo Men,
The Vogues,
Amon Düül,
Swans,
Andrew Ashong & Theo Parrish,
the Swans,
Whodini,
Kings Of Tomorrow,
the Fania All-Stars,
Scan 7,
Pharoah Sanders,
Janne Schatter,
Kauko Röyhkä ja Narttu,
Brass Construction,
Frankie Knuckles,
The West Coast Pop Art Experimental Band,
Interpol,
Khruangbin,
MC5, MC5, MC5, MC5.
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.