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 Belarus and from Tehran.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Calgary and Milan.
I'm losing my edge to the art-school Jakarta 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Ultra Naté to the grime 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 Ludus. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Robert Wyatt 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 '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
Supertramp,
Jerry's Kids,
Stiv Bators,
Qualms,
Pussy Galore,
The Knickerbockers,
Deutsch Amerikanische Freundschaft,
Pulsallama,
Fad Gadget,
Gil Scott Heron,
The American Breed,
Icehouse,
Reuben Wilson,
Notorious BIG live in Amsterdam,
Gerry Rafferty,
the Human League,
Oneida,
Barclay James Harvest,
Technova,
Crooked Eye,
The Move,
Sugar Minott,
a-ha,
Byron Stingily,
H. Thieme,
Bobby Byrd,
Amon Düül II,
Joe Finger,
The Stooges,
Manfred Mann's Earth Band,
Sexual Harrassment,
Matthew Halsall,
Bronski Beat,
Gian Franco Pienzio,
Grandmaster Flash,
Lalo Schifrin,
Ituana,
Bill Near,
Pole,
Vaughan Mason & Crew,
the Normal,
The Birthday Party,
Gregory Isaacs,
Marc Romboy vs. Booka Shade,
Rites of Spring,
Neu!,
Wighnomy Brothers & Robag Wruhme,
Severed Heads,
Symarip,
The Gladiators,
Al Stewart,
Scratch Acid,
Robert Görl,
Radiopuhelimet,
Vladislav Delay,
Sparks,
Khruangbin,
Slick Rick,
Heaven 17,
Subhumans,
D'Angelo,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.