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 Houston.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Winnipeg.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 The Real Kids 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 Lightning Bolt. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every 8 Eyed Spy record on German import.
I heard that you have a white label of every seminal disco 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Kaleidoscope,
The Dave Clark Five,
Sonny Sharrock,
Lindisfarne,
Warren Ellis,
Unwound,
ABC,
London Community Gospel Choir,
Johnny Clarke,
Erykah Badu,
Scrapy,
Subhumans,
Peter and Kerry,
Steve Hackett,
Soulsonic Force,
Selector Dub Narcotic,
Piero Umiliani,
Main Source,
LL Cool J,
The Birthday Party,
Ajijia Myrayebe,
Peter & Gordon,
Gil Scott-Heron & Brian Jackson,
U.S. Maple,
Ituana,
Dennis Brown,
Barry Ungar,
Crime,
The Beau Brummels,
Danielle Patucci,
Susan Cadogan,
Aural Exciters,
Model 500,
Ralphi Rosario,
Radio Birdman,
The Moleskins,
Zapp,
Fort Wilson Riot,
Magazine,
The Pop Group,
Sound Behaviour,
Leonard Cohen,
John Coltrane,
DJ Sneak,
Flash Fearless,
Scott Walker,
Tom Boy,
Mars,
Sugar Minott,
F. McDonald,
Gian Franco Pienzio,
Das Ding,
Sun Ra Arkestra,
Davy DMX,
Rhythm & Sound,
Masters at Work,
Visage,
Jandek,
Shuggie Otis,
Minor Threat,
R.M.O.,
June of 44,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.