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 Ecuador and from Madrid.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 The Associates to the rap kids.
I played it at the Troubador.
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 John Lydon. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Gang of Four,
Lou Reed & John Cale,
Franke,
Kango’s Stein Massive,
Black Flag,
10cc,
Second Layer,
Beasts of Bourbon,
Ultra Naté,
The Music Machine,
Country Joe & The Fish,
Super Lover Cee & Casanova Rud,
Teenage Jesus and the Jerks,
Pylon,
Ornette Coleman,
It's A Beautiful Day,
Jerry Gold Smith,
Symarip,
The Gories,
Model 500,
The Cosmic Jokers,
Thompson Twins,
London Community Gospel Choir,
One Last Wish,
Stereo Dub,
Goldenarms,
Sun City Girls,
Patti Smith,
Nas,
The Martian,
the Soft Cell,
In Retrospect,
Gong,
Dave Gahan,
Gerry Rafferty,
Cabaret Voltaire,
Kings Of Tomorrow,
The Zeros,
Piero Umiliani,
The Buckinghams,
The Misunderstood,
John Foxx,
Brand Nubian,
Cal Tjader,
La Düsseldorf,
Anthony Braxton,
The Sound,
The Dead C,
The Jesus and Mary Chain,
Q65,
Pere Ubu,
Harpers Bizarre,
Nico,
Essential Logic,
Electric Light Orchestra,
Gil Scott-Heron & Brian Jackson,
The Young Rascals,
Dual Sessions,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.