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 Macedonia 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 1962 to 1974.
I'm losing my edge.
To all the kids in Taipei 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 1968 at the first Bowie practice in a loft in Bromley.
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 Bad Manners to the punk kids.
I played it at Cafe Wha.
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 Bar-Kays. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Jacques Brel 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Fear,
Average White Band,
Andrew Hill,
T.S.O.L.,
The Zeros,
Big Daddy Kane,
Marc Almond,
Q and Not U,
Skriet,
Sonny Sharrock,
The Peanut Butter Conspiracy,
Piero Umiliani,
Duran Duran,
The Divine Comedy,
David Bowie,
Schoolly D,
Youth Brigade,
The Skatalites,
Mad Mike,
The Neon Judgement,
Robert Görl,
Monks,
Soft Cell,
David Axelrod,
Ultra Naté,
Thinking Fellers Union Local 282,
Roy Ayers,
Sarah Menescal,
Rotary Connection,
Roxette,
Joe Smooth,
Marmalade,
Sun Ra Arkestra,
Godley & Creme,
La Düsseldorf,
Cecil Taylor,
Excepter,
London Community Gospel Choir,
Byron Stingily,
The Detroit Cobras,
Popol Vuh,
Bronski Beat,
Nas,
Bootsy's Rubber Band,
Minutemen,
Tropical Tobacco,
Soft Machine,
Porter Ricks,
Sight & Sound,
The Wake,
Super Lover Cee & Casanova Rud,
Richard Hell and the Voidoids,
E-Dancer,
Cabaret Voltaire,
Tommy Roe,
Bauhaus,
Lucky Dragons,
Avey Tare & Kría Brekkan,
Heaven 17,
Essential Logic,
The Cramps,
The American Breed, The American Breed, The American Breed, The American Breed.
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.