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 Afghanistan and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Madrid and Jakarta.
I'm losing my edge to the art-school Toronto 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 spring reverb 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 CMW to the grunge kids.
I played it at the Hacienda.
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 Minor Threat. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lebanon Hanover,
Gang Green,
Public Image Ltd.,
Man Parrish,
The Fuzztones,
Black Pus,
the Human League,
AZ,
Throbbing Gristle,
Avey Tare's Slasher Flicks,
Anakelly,
The Grass Roots,
The Monochrome Set,
The Cure,
Robert Hood,
Robert Wyatt,
Pussy Galore,
Groovy Waters,
Gong,
Bill Near,
The Five Americans,
Marine Girls,
The Tremeloes,
Hot Snakes,
Cluster,
The Blackbyrds,
Soft Machine,
8 Eyed Spy,
Alison Limerick,
Pete Rock & C.L. Smooth,
Manfred Mann's Earth Band,
Godley & Creme,
The Mighty Diamonds,
June Days,
Wings,
Banda Bassotti,
Pulsallama,
Excepter,
Tears for Fears,
Malaria!,
Lightning Bolt,
The Raincoats,
John Cale,
Magazine,
The Wake,
World's Most,
Jesper Dahlback,
Brand Nubian,
Country Joe & The Fish,
The Gories,
Art Ensemble Of Chicago,
The Gladiators,
Kurtis Blow,
Scrapy,
New York Dolls,
Idris Muhammad,
Kango’s Stein Massive,
Lalann,
Carl Craig,
Barrington Levy,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.