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 Equatorial Guinea and from Spokane.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Sugar Minott to the electroclash kids.
I played it at the 40 Watt.
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 Whodini. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every The Wake 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound 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?
Matthew Halsall,
Cabaret Voltaire,
Rufus Thomas,
Pierre Henry,
Sound Behaviour,
Electric Prunes,
EPMD,
Black Pus,
Joe Smooth,
Reagan Youth,
Liaisons Dangereuses,
Bluetip,
Sly & The Family Stone,
Outsiders,
Popol Vuh,
Spandau Ballet,
Heaven 17,
The Slackers,
Roxy Music,
Johnny Osbourne,
AZ,
The Doobie Brothers,
The Count Five,
Stiv Bators,
Zero Boys,
Traffic Nightmare,
Monks,
Avey Tare's Slasher Flicks,
The Black Dice,
London Community Gospel Choir,
Harry Pussy,
Royal Trux,
Brothers Johnson,
The Zeros,
Slave,
Vainqueur,
Babytalk,
Nation of Ulysses,
Barclay James Harvest,
Yaz,
Moby Grape,
FM Einheit,
Todd Rundgren,
Essential Logic,
U.S. Maple,
Interpol,
The Alarm Clocks,
Eric B and Rakim,
Quantec,
Marcia Griffiths,
Adolescents,
Lonnie Liston Smith,
the Soft Cell,
Patti Smith,
Buzzcocks,
Bobbi Humphrey,
Public Image Ltd.,
Wire,
Nick Fraelich,
Thompson Twins,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.