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 Palau and from Portland.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and London.
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 rhodes 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 Jeff Mills to the jazz kids.
I played it at Trash.
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 Harry Pussy. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Al Stewart,
The Real Kids,
Gregory Isaacs,
These Immortal Souls,
James Chance & The Contortions,
Eric Dolphy,
The Sisters of Mercy,
Marc Almond,
Black Pus,
Electric Prunes,
The Remains,
Black Moon,
Fifty Foot Hose,
Au Pairs,
The Move,
Pere Ubu,
the Sonics,
Ohio Players,
Inner City,
The Trojans,
Rakim,
The Black Dice,
Eli Mardock,
Josef K,
John Cale,
Model 500,
Kenny Larkin,
Quadrant,
Faust,
Mary Jane Girls,
Sonny Sharrock,
The Cure,
The Birthday Party,
The Angels of Light,
Tim Buckley,
OOIOO,
Tomorrow,
Jeff Lynne,
Ornette Coleman,
Godley & Creme,
Angry Samoans,
De La Soul & Jungle Brothers,
David McCallum,
Pulsallama,
Larry & the Blue Notes,
Fort Wilson Riot,
Lungfish,
Marine Girls,
Grey Daturas,
Scratch Acid,
Joe Finger,
Pantaleimon,
Delon & Dalcan,
Matthew Bourne,
Altered Images,
U.S. Maple,
Judy Mowatt,
Drive Like Jehu,
Richard Hell and the Voidoids,
JFA,
Harry Pussy,
Technova, Technova, Technova, Technova.
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.