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 Spain and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Mumbai 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 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 techno 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 West Coast Pop Art Experimental Band. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Schoolly D 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 '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Bluetip,
Sam Rivers,
The Royal Family And The Poor,
Lyres,
Wire,
CMW,
Camberwell Now,
The Beau Brummels,
Smog,
The American Breed,
Basic Channel,
Eric Copeland,
Rhythim Is Rhythim,
MDC,
Jerry's Kids,
Byron Stingily,
Röyhkä ja Rättö ja Lehtisalo,
Rosa Yemen,
Jawbox,
Nils Olav,
Frankie Knuckles,
Maleditus Sound,
Theoretical Girls,
Model 500,
La Düsseldorf,
Blancmange,
Piero Umiliani,
Louis and Bebe Barron,
Soft Cell,
Hoover,
World's Most,
Man Parrish,
Andrew Hill,
Sugar Minott,
John Lydon,
The Mighty Diamonds,
Scratch Acid,
Rotary Connection,
A Flock of Seagulls,
Blake Baxter,
Eden Ahbez,
The Mojo Men,
Eve St. Jones,
Swell Maps,
Heavy D & The Boyz,
DeepChord presents Echospace,
Crash Course in Science,
Subhumans,
Pussy Galore,
Gary Puckett & The Union Gap,
Ice-T,
The Searchers,
Gang Green,
Angels of Light & Akron/Family,
Kaleidoscope,
Strawberry Alarm Clock,
the Sonics,
Aswad, Aswad, Aswad, Aswad.
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.