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 Egypt and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Niagra to the grime kids.
I played it at the Roxy.
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 The Pop Group. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Minny Pops 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Shadows of Knight record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
Throbbing Gristle,
Bill Wells,
Lizzy Mercier Descloux,
The Tremeloes,
Wolf Eyes,
Dorothy Ashby,
cv313,
The Toasters,
Sam Rivers,
Tres Demented,
Maurizio,
Porter Ricks,
Silicon Teens,
Sad Lovers and Giants,
The New Christs,
Bang on a Can All-Stars,
Ken Boothe,
The Busters,
Howard Jones,
Marc Almond,
Lou Reed,
Glambeats Corp.,
Kaleidoscope,
Public Image Ltd.,
Pharaoh Sanders and the Fire Engines,
Goldenarms,
Hasil Adkins,
The Techniques,
Kango’s Stein Massive,
Wasted Youth,
Franke,
the Slits,
The Flesh Eaters,
The Sonics,
Bootsy's Rubber Band,
Larry & the Blue Notes,
Skaos,
Juan Atkins,
Scion,
Funkadelic,
Q65,
Gang Starr,
The Victims,
Icehouse,
Wally Richardson,
Black Sheep,
Amon Düül,
Second Layer,
Talk Talk,
Rekid,
The Cosmic Jokers,
John Foxx,
The Red Krayola,
Morten Harket,
The Seeds,
Television Personalities,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.