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 Cuba and from Bologna.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 Soft Machine to the electroclash kids.
I played it at the Roxy.
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 Marc Almond. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Brand Nubian 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Litter,
Visage,
Scratch Acid,
The Electric Prunes,
Stereo Dub,
Rites of Spring,
Avey Tare & Kría Brekkan,
Eurythmics,
10cc,
Black Sheep,
Nico,
The Happenings,
Marshall Jefferson,
Glenn Branca,
Kauko Röyhkä ja Narttu,
Boz Scaggs,
Rapeman,
Juan Atkins,
The Real Kids,
The Standells,
Japan,
Sixth Finger,
Jesper Dahlbäck,
Todd Terry,
David Bowie,
The Jesus and Mary Chain,
Minor Threat,
Minutemen,
Boredoms,
Traffic Nightmare,
Magazine,
The Peanut Butter Conspiracy,
Gerry Rafferty,
The Stooges,
Roxy Music,
The Associates,
Ultra Naté,
H. Thieme,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Spandau Ballet,
Slave,
Louis and Bebe Barron,
Kurtis Blow,
Chrome,
Nirvana,
The Vogues,
Royal Trux,
Tropical Tobacco,
Motorama,
Jerry's Kids,
June of 44,
The Blackbyrds,
Bronski Beat,
UT,
Warsaw,
Black Pus,
Talk Talk,
Roger Hodgson,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.