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 Malaysia and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school London 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 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 Fifty Foot Hose to the dance kids.
I played it at the Spitz.
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 Crooked Eye. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
D'Angelo,
The Royal Family And The Poor,
The Dead C,
Rhythm & Sound,
Lungfish,
Brand Nubian,
Maurizio,
John Holt,
the Swans,
Malaria!,
Nik Kershaw,
Fat Boys,
Oneida,
Scott Walker + Sunn O))),
Pulsallama,
Banda Bassotti,
London Community Gospel Choir,
The Durutti Column,
Janne Schatter,
Eve St. Jones,
Flipper,
Oppenheimer Analysis,
The Sonics,
Rufus Thomas,
Bootsy's Rubber Band,
Drexciya,
Ossler,
Archie Shepp,
The Gories,
Thee Headcoats,
Faraquet,
Lalann,
PIL,
Gary Puckett & The Union Gap,
Chris Corsano,
Stiv Bators,
Arab on Radar,
Eric Dolphy,
Black Pus,
Lou Reed,
Main Source,
The Beau Brummels,
Grandmaster Flash and the Furious Five,
Amon Düül II,
Porter Ricks,
Anakelly,
Nation of Ulysses,
Dorothy Ashby,
Kevin Saunderson,
The Moody Blues,
Slick Rick,
Gil Scott Heron,
Rites of Spring,
Rhythim Is Rhythim,
Ultimate Spinach,
The Raincoats,
Dual Sessions,
Magma,
Byron Stingily,
ABBA, ABBA, ABBA, ABBA.
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.