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 Swaziland and from Shanghai.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Judy Mowatt to the dance kids.
I played it at the Crocodile.
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 Nick Cave & The Bad Seeds. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Minny Pops,
Silicon Teens,
Peter & Gordon,
Spoonie Gee,
Freddie Wadling,
Soul II Soul,
Rites of Spring,
The Star Department,
Stereo Dub,
Chris & Cosey,
Kurtis Blow,
Pulsallama,
Frankie Knuckles,
John Cale,
Joe Smooth,
Section 25,
Lindisfarne,
Cameo,
Idris Muhammad,
Dual Sessions,
Tom Boy,
The Fall,
Lalo Schifrin,
Marcia Griffiths,
Cal Tjader,
R.M.O.,
Y Pants,
Be Bop Deluxe,
Infiniti,
Massinfluence,
Ossler,
Tommy Roe,
Jawbox,
Depeche Mode,
Fat Boys,
Sly & The Family Stone,
Blancmange,
Donny Hathaway,
Sound Behaviour,
Desert Stars,
The Leaves,
Toni Rubio,
Electric Light Orchestra,
The Flesh Eaters,
Dr. Dre and Snoop Doggy Dog,
Ultimate Spinach,
Slave,
Lyres,
Sandy B,
Oneida,
Lucky Dragons,
Rhythim Is Rhythim,
the Bar-Kays,
Los Fastidios,
Lee Hazlewood,
Terrestrial Tones,
PIL,
Gil Scott-Heron & Brian Jackson,
Selector Dub Narcotic,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.