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 the UAE and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1979.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school London 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 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 Eli Mardock to the rock 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 Sarah Menescal. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 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 güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Tomorrow,
Pierre Henry,
Eurythmics,
Tim Buckley,
Underground Resistance,
Bluetip,
Lizzy Mercier Descloux,
The Walker Brothers,
The J.B.'s,
Radiopuhelimet,
Gang Gang Dance,
Cameo,
David Axelrod,
Theoretical Girls,
Jesper Dahlback,
Public Enemy,
Mars,
LL Cool J,
The Smiths,
The Grass Roots,
Ludus,
Y Pants,
The Velvet Underground,
Bobby Byrd,
Nick Fraelich,
Dual Sessions,
The Red Krayola,
Von Mondo,
Junior Murvin,
Silicon Teens,
Colin Newman,
Negative Approach,
Aloha Tigers,
Babytalk,
Clear Light,
Oppenheimer Analysis,
Roxy Music,
The Names,
Fifty Foot Hose,
Unrelated Segments,
Vainqueur,
Lucky Dragons,
Ice-T,
Teenage Jesus and the Jerks,
The Buckinghams,
Adolescents,
Glambeats Corp.,
Vladislav Delay,
Carl Craig,
Robert Hood,
Bang On A Can,
Pole,
Guru Guru,
Eddi Front,
Pylon,
Louis and Bebe Barron,
Dr. Dre and Snoop Doggy Dog,
The Mighty Diamonds,
Marc Romboy vs. Booka Shade,
Hashim,
Mr. Review,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.