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 Bulgaria and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Columbus.
I'm losing my edge to the art-school Bremen 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 harpsichord sounds with much patience.
I was there when David Bowie 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 ABC to the techno kids.
I played it at the Troubador.
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 In Retrospect. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
The Doors,
Godley & Creme,
Lower 48,
The Martian,
48th St. Collective,
Main Source,
the Fania All-Stars,
Absolute Body Control,
Television,
Pantaleimon,
Flipper,
Wire,
Section 25,
Pierre Henry,
Lou Christie,
Bootsy's Rubber Band,
Kurtis Blow,
Aswad,
Black Flag,
Whodini,
Manfred Mann's Earth Band,
Mantronix,
Grauzone,
Robert Hood,
Porter Ricks,
Visage,
Faraquet,
The Cosmic Jokers,
Q65,
Brick,
Clear Light,
Icehouse,
Terry Callier,
Wolf Eyes,
Bizarre Inc.,
Gastr Del Sol,
Wally Richardson,
David Axelrod,
Roxy Music,
K-Klass,
London Community Gospel Choir,
N.O.R.E. Featuring Pharrell,
Joensuu 1685,
Scrapy,
Avey Tare & Kría Brekkan,
The Invisible,
Robert Görl,
Nation of Ulysses,
the Germs,
Banda Bassotti,
Ultimate Spinach,
The Grass Roots,
The Pretty Things,
Goldenarms,
Beasts of Bourbon,
DeepChord presents Echospace,
Saccharine Trust,
Vladislav Delay,
Funky Four + One,
The New Christs,
Pantytec,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.