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 Burundi and from New York.
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 1971.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 John Foxx to the rock kids.
I played it at the Troubador.
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 Electric Prunes. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Delta 5 record on German import.
I heard that you have a white label of every seminal techno 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Avey Tare's Slasher Flicks,
Rosa Yemen,
Richard Hell and the Voidoids,
Sad Lovers and Giants,
Yazoo,
Pharaoh Sanders and the Fire Engines,
The Residents,
KRS-One,
Nik Kershaw,
Gregory Isaacs,
New York Dolls,
Aural Exciters,
Joyce Sims,
Louis and Bebe Barron,
James Chance & The Contortions,
London Community Gospel Choir,
The Jesus and Mary Chain,
Bronski Beat,
Nico,
The Associates,
The Kinks,
Liaisons Dangereuses,
The Last Poets,
Porter Ricks,
F. McDonald,
Röyhkä ja Rättö ja Lehtisalo,
Eurythmics,
Bobbi Humphrey,
Ludus,
Inner City,
Judy Mowatt,
D'Angelo,
Radiohead,
Curtis Mayfield,
The Dave Clark Five,
Roy Ayers Ubiquity,
The Gories,
Circle Jerks,
Fort Wilson Riot,
Basic Channel,
The Mighty Diamonds,
Idris Muhammad,
Skriet,
Amon Düül,
E-Dancer,
Crooked Eye,
Matthew Halsall,
Eddi Front,
Prince Buster,
Eric Dolphy,
Maurizio,
Deakin,
Rakim,
Soul Sonic Force,
The Doobie Brothers,
DeepChord presents Echospace,
Ultra Naté,
Sixth Finger,
Danielle Patucci,
Echo & the Bunnymen,
Bang on a Can All-Stars,
James White and The Blacks,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.