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 Nicaragua and from Accra.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Mumbai.
I'm losing my edge to the art-school Manchester 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the sitar 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 Joey Negro to the disco 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 The Litter. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Nick Cave & The Bad Seeds record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
The Fugs,
Frankie Knuckles,
Wolf Eyes,
Charles Mingus,
the Soft Cell,
Kaleidoscope,
Ponytail,
Yusef Lateef,
Lalo Schifrin,
James Chance & The Contortions,
Kauko Röyhkä ja Narttu,
Janne Schatter,
Sam Rivers,
Bobby Womack,
Amazonics,
In Retrospect,
Rhythim Is Rhythim,
Monks,
John Foxx,
Boredoms,
Rod Modell,
Saccharine Trust,
Visionaries,LMNO, T- Love & Iriscience,
The Sound,
Beasts of Bourbon,
The Blues Magoos,
The Smoke,
Ohio Players,
Erykah Badu,
Jimmy McGriff,
Sun Ra,
Art Ensemble Of Chicago,
Marc Romboy vs. Booka Shade,
Chrome,
Unrelated Segments,
Rites of Spring,
Crispy Ambulance,
Liaisons Dangereuses,
Davy DMX,
Radiopuhelimet,
Ash Ra Tempel,
The Names,
Toni Rubio,
Bauhaus,
Deepchord,
Pylon,
Masters at Work,
Dark Day,
Electric Prunes,
R.M.O.,
The Knickerbockers,
Wire,
The Fuzztones,
Colin Newman,
Archie Shepp,
Sandy B,
Jawbox,
The Young Rascals,
Grandmaster Flash and the Furious Five,
The Dave Clark Five,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.