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 Argentina and from Lille.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Taipei and Copenhagen.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Tom Boy to the grunge kids.
I played it at Cafe Wha.
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 Main Source. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Supertramp 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Amon Düül,
Maurizio,
Hasil Adkins,
Malaria!,
Tomorrow,
Spoonie Gee,
The Young Rascals,
Bush Tetras,
Ralphi Rosario,
The Dirtbombs,
The Moleskins,
Can,
Vaughan Mason & Crew,
Das Ding,
DJ Style,
Anakelly,
Gregory Isaacs,
Dark Day,
Yaz,
New York Dolls,
Harmonia,
Joe Smooth,
Andrew Ashong & Theo Parrish,
Babytalk,
Lakeside,
Blancmange,
UT,
Von Mondo,
the Bar-Kays,
Silicon Teens,
The Modern Lovers,
Roy Ayers,
F. McDonald,
Michelle Simonal,
8 Eyed Spy,
The Music Machine,
Bobby Hutcherson,
The Barracudas,
Electric Light Orchestra,
Thinking Fellers Union Local 282,
Parry Music,
AZ,
Man Eating Sloth,
Marcia Griffiths,
Be Bop Deluxe,
the Soft Cell,
the Fania All-Stars,
Camouflage,
a-ha,
Black Moon,
Marvin Gaye,
The Mighty Diamonds,
Traffic Nightmare,
Slave,
The Slackers,
Porter Ricks,
Roger Hodgson,
The Neon Judgement,
Grandmaster Flash and the Furious Five,
The Moody Blues,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.