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 Russia and from Beijing.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Toronto.
I'm losing my edge to the art-school Winnipeg 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 rhodes 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 Mark Hollis to the techno 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 Pole. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every The Star Department 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
X-101,
Lindisfarne,
Camouflage,
The Young Rascals,
Carl Craig,
Quantec,
Chrome,
Urselle,
The Stooges,
Andrew Hill,
Ten City,
Sunsets and Hearts,
The Fortunes,
Little Man,
Organ,
The Royal Family And The Poor,
Danielle Patucci,
Dawn Penn,
Bill Wells,
Jeru the Damaja,
Pharoah Sanders,
Monolake,
Bootsy's Rubber Band,
Orchestral Manoeuvres in the Dark,
Aural Exciters,
Mantronix,
Bauhaus,
Minutemen,
Peter Gordon & Love of Life Orchestra,
Agitation Free,
Unrelated Segments,
Black Sheep,
Boogie Down Productions,
The Zeros,
Erasure,
Eurythmics,
Red Lorry Yellow Lorry,
Aswad,
Masters at Work,
Negative Approach,
It's A Beautiful Day,
R.M.O.,
Joensuu 1685,
Scientists,
The Standells,
Boredoms,
The Knickerbockers,
Cymande,
Selector Dub Narcotic,
The Beau Brummels,
Symarip,
Amon Düül,
Skriet,
Cal Tjader,
New Age Steppers,
Aaron Thompson,
Brass Construction,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Blake Baxter,
Banda Bassotti, Banda Bassotti, Banda Bassotti, Banda Bassotti.
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.