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 Syria and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 mellotron 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 Mantronix to the grime 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Ten City 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 a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Terrestrial Tones,
Ken Boothe,
Ralphi Rosario,
John Cale,
Bauhaus,
Curtis Mayfield,
Eyeless In Gaza,
Teenage Jesus and the Jerks,
Peter & Gordon,
Roxette,
Electric Prunes,
The Dead C,
Quantec,
Average White Band,
AZ,
Monks,
The Index,
Scan 7,
China Crisis,
Sarah Menescal,
Derrick Morgan,
Banda Bassotti,
Pharaoh Sanders and the Fire Engines,
Lalann,
The Happenings,
Hardrive,
Ituana,
Reuben Wilson,
X-101,
Dorothy Ashby,
Slave,
Index,
Talk Talk,
Pole,
The Human League,
Marmalade,
Carl Craig,
Shuggie Otis,
Art Ensemble Of Chicago,
Faraquet,
The Remains,
DeepChord presents Echospace,
The Fall,
These Immortal Souls,
The Alarm Clocks,
Blake Baxter,
Archie Shepp,
Aural Exciters,
The Cowsills,
Newcleus,
Deadbeat,
Moby Grape,
Black Flag,
Q65,
Laurel Aitken,
Procol Harum,
Derrick May,
Kerri Chandler,
Mary Jane Girls,
Ultimate Spinach,
Lungfish,
cv313, cv313, cv313, cv313.
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.