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 Dominica and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Edmonton and Mexico City.
I'm losing my edge to the art-school Bologna 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 Spandau Ballet to the punk 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 Danielle Patucci. All the underground hits.
All Leonard Cohen tracks. I heard you have a vinyl of every the Normal 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Camron Feat. Jay Z And Juelz,
Joensuu 1685,
Ice-T,
James Chance & The Contortions,
Cabaret Voltaire,
James White and The Blacks,
Rahsaan Roland Kirk,
Joe Finger,
Radio Birdman,
Rekid,
John Foxx,
World's Most,
Gang Green,
Buzzcocks,
Siglo XX,
Gang Starr,
Wolf Eyes,
Marvin Gaye,
Franke,
Schoolly D,
Crime,
Deadbeat,
Lakeside,
The Gories,
Trumans Water,
Von Mondo,
Neil Young & Crazy Horse,
Motorama,
Massinfluence,
the Fania All-Stars,
Kevin Saunderson,
Kango’s Stein Massive,
Bootsy Collins,
Peter Gordon & Love of Life Orchestra,
Man Parrish,
Scrapy,
Boz Scaggs,
Zero Boys,
Ajijia Myrayebe,
Duran Duran,
Neil Young,
Roger Hodgson,
Ossler,
Cheater Slicks,
Radiopuhelimet,
Metal Thangz,
Unwound,
Eden Ahbez,
Hoover,
Henry Cow,
8 Eyed Spy,
Jerry Gold Smith,
Unrelated Segments,
Ultimate Spinach,
Deutsch Amerikanische Freundschaft,
Alton Ellis,
Erykah Badu,
Eve St. Jones,
Dead Boys,
Mandrill, Mandrill, Mandrill, Mandrill.
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.