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 Palau and from Shanghai.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Seoul and Hong Kong.
I'm losing my edge to the art-school Seoul 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 güiro sounds with much patience.
I was there when Lou Reed 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 Scratch Acid to the funk kids.
I played it at the Spitz.
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 Jerry's Kids. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
ABBA,
John Lydon,
Michelle Simonal,
Public Image Ltd.,
Isaac Hayes,
Minor Threat,
KRS-One,
Hashim,
Kerrie Biddell,
Ludus,
Bill Wells,
Average White Band,
Laurel Aitken,
X-102,
Liliput,
Motorama,
Don Cherry,
Japan,
Banda Bassotti,
Aaron Thompson,
L. Decosne,
The Jesus and Mary Chain,
Cal Tjader,
Grauzone,
OOIOO,
Saccharine Trust,
Parry Music,
Negative Approach,
The Shadows of Knight,
Minnie Riperton,
Lou Christie,
The Modern Lovers,
The Black Dice,
Cecil Taylor,
The Saints,
Orchestral Manoeuvres in the Dark,
Shoche,
Notorious BIG live in Amsterdam,
Wings,
Vladislav Delay,
Ornette Coleman,
Visage,
Sun City Girls,
Moebius,
The Gap Band,
Make Up,
Justin Hinds & The Dominoes,
The Slackers,
Nick Cave & The Bad Seeds,
The Chocolate Watch Band,
Toni Rubio,
Teenage Jesus and the Jerks,
Red Lorry Yellow Lorry,
David McCallum,
Sound Behaviour,
the Fania All-Stars,
Roger Hodgson,
Dawn Penn,
The Leaves,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.