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 Palau and from Spokane.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Accra 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar 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 The Sisters of Mercy to the funk kids.
I played it at Trash.
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 Al Stewart. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Q and Not U record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Alice Coltrane,
The Real Kids,
Gichy Dan,
The Modern Lovers,
T.S.O.L.,
Orchestral Manoeuvres in the Dark,
The Neon Judgement,
X-Ray Spex,
Davy DMX,
Livin' Joy,
James White and The Blacks,
Judy Mowatt,
Eyeless In Gaza,
World's Most,
Vainqueur,
Ultravox,
Camberwell Now,
Frankie Knuckles,
Marmalade,
Jacques Brel,
JFA,
Notorious Big And Bone Thugs,
Archie Shepp,
Jawbox,
Flash Fearless,
Kauko Röyhkä ja Narttu,
Arcadia,
Section 25,
Boredoms,
Amazonics,
the Normal,
Josef K,
Joyce Sims,
Ohio Players,
Cabaret Voltaire,
Bill Near,
Soul II Soul,
D'Angelo,
Bush Tetras,
Robert Görl,
One Last Wish,
Amon Düül II,
Charles Mingus,
Animal Collective,
The Blackbyrds,
Rites of Spring,
Henry Cow,
Delta 5,
The Trojans,
Robert Wyatt,
Negative Approach,
E-Dancer,
Harmonia,
Soulsonic Force,
Bob Dylan,
FM Einheit,
Heavy D & The Boyz,
Aural Exciters,
Babytalk,
The Buckinghams,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.