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 Portugal and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Shanghai.
I'm losing my edge to the art-school Madrid 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Rhythim Is Rhythim to the dance kids.
I played it at the Astoria.
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 Silicon Teens. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Jacques Brel 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Isaac Hayes,
Reuben Wilson,
Guru Guru,
A Flock of Seagulls,
Sandy B,
Boz Scaggs,
The Pop Group,
The Blues Magoos,
Piero Umiliani,
The Saints,
Grey Daturas,
Cybotron,
Art Ensemble Of Chicago,
John Lydon,
8 Eyed Spy,
the Association,
Grandmaster Flash and the Furious Five,
Anakelly,
JFA,
Colin Newman,
Ohio Players,
Essential Logic,
Unwound,
Minutemen,
Max Romeo,
The Barracudas,
Q and Not U,
Barclay James Harvest,
Simply Red,
Silicon Teens,
K-Klass,
Soul Sonic Force,
Black Moon,
Sarah Menescal,
Theoretical Girls,
John Foxx,
Dr. Dre and Snoop Doggy Dog,
Lalann,
Babytalk,
Avey Tare's Slasher Flicks,
Black Flag,
The Wake,
Ash Ra Tempel,
Ralphi Rosario,
The Last Poets,
Dark Day,
Anthony Braxton,
Blancmange,
Louis and Bebe Barron,
Freddie Wadling,
Barry Ungar,
The Litter,
Mark Hollis,
Rotary Connection,
Nik Kershaw,
Dorothy Ashby,
Goldenarms,
David Axelrod,
Fear,
The Fire Engines,
The Neon Judgement,
Traffic Nightmare,
the Normal, the Normal, the Normal, the Normal.
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.