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 Trinidad & Tobago and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Hong Kong 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 organ sounds with much patience.
I was there when Robert Palmer 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 Radiohead to the grime 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 Misunderstood. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Erasure 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 '50s cut and another box set from the '90s.
I hear you're buying a snare 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 Alarm Clocks record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
The Trojans,
the Human League,
The Last Poets,
Super Lover Cee & Casanova Rud,
The Standells,
Lakeside,
Laurel Aitken,
The Men They Couldn't Hang,
The Zeros,
Gerry Rafferty,
The Jesus and Mary Chain,
Freddie Wadling,
Suburban Knight,
Half Japanese,
Trumans Water,
Chrome,
Jesper Dahlbäck,
The Techniques,
Oneida,
Bang on a Can All-Stars,
The Gories,
Fifty Foot Hose,
Idris Muhammad,
Jeff Lynne,
Simply Red,
The Human League,
Sad Lovers and Giants,
Dave Gahan,
Subhumans,
Lalann,
Bobby Womack,
Arcadia,
Toni Rubio,
Kas Product,
Echo & the Bunnymen,
Tears for Fears,
Pylon,
The Associates,
The Pretty Things,
Suicide,
Model 500,
Jeff Mills,
Henry Cow,
Blancmange,
Pharoah Sanders,
Liaisons Dangereuses,
Anthony Braxton,
Brick,
Crispy Ambulance,
The Slackers,
48th St. Collective,
Maleditus Sound,
Lyres,
Maurizio,
Electric Prunes,
World's Most,
Urselle,
Thinking Fellers Union Local 282,
the Sonics,
Kenny Larkin,
Franke,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.