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 Zimbabwe and from Lyon.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Madrid.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
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 kango's stein massive to the funk kids.
I played it at the Spitz.
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 Shadows of Knight. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Harmonia 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Negative Approach,
Kool G Rap & DJ Polo,
Liaisons Dangereuses,
Arthur Verocai,
Quadrant,
Eric Dolphy,
Sällskapet,
The Smoke,
Vladislav Delay,
Dark Day,
JFA,
The Velvet Underground,
Khruangbin,
Lonnie Liston Smith,
Organ,
Von Mondo,
Basic Channel,
Oppenheimer Analysis,
Das Ding,
The Divine Comedy,
MDC,
Easy Going,
Marcia Griffiths,
The Standells,
The Red Krayola,
Selector Dub Narcotic,
The Slackers,
Echo & the Bunnymen,
Gang Gang Dance,
Hashim,
The Mummies,
Television,
Andrew Hill,
Shuggie Otis,
Marc Almond,
Deutsch Amerikanische Freundschaft,
The Gladiators,
Siouxsie and the Banshees,
Lungfish,
The Mighty Diamonds,
Joey Negro,
Rites of Spring,
The Wake,
Bang On A Can,
Wally Richardson,
The Young Rascals,
Boogie Down Productions,
Brand Nubian,
Michelle Simonal,
This Heat,
Marc Romboy vs. Booka Shade,
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
The Jesus and Mary Chain,
The American Breed,
Spoonie Gee,
Super Lover Cee & Casanova Rud,
Bobby Sherman,
The J.B.'s,
The Litter,
Ajijia Myrayebe,
Röyhkä ja Rättö ja Lehtisalo,
Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey, Bobbi Humphrey.
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.