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 Monaco and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Lille 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the arpeggiator 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 The Martian to the techno 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 Moebius. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Duran Duran,
Henry Cow,
Mo-Dettes,
Jacob Miller,
Massinfluence,
The Jesus and Mary Chain,
Guru Guru,
Kenny Larkin,
Pagans,
The Gories,
New York Dolls,
Eric Dolphy,
The Neon Judgement,
Sparks,
The Blackbyrds,
Althea and Donna,
Jerry Gold Smith,
Tubeway Army,
Delon & Dalcan,
8 Eyed Spy,
Visage,
Strawberry Alarm Clock,
Oneida,
Marmalade,
Alice Coltrane,
Big Daddy Kane,
Buzzcocks,
Fluxion,
Zero Boys,
Sun Ra,
Sister Nancy,
World's Most,
Tomorrow,
Joensuu 1685,
Index,
Harry Pussy,
The Detroit Cobras,
Television Personalities,
Notorious BIG live in Amsterdam,
The Techniques,
Alison Limerick,
Skriet,
H. Thieme,
Faust,
Gil Scott Heron,
Amon Düül,
Liaisons Dangereuses,
Vladislav Delay,
Fear,
Ultimate Spinach,
Dual Sessions,
Robert Hood,
Spandau Ballet,
Robert Görl,
The Martian,
Roger Hodgson,
Gabor Szabo,
Aswad,
Kayak,
Crispian St. Peters,
Youth Brigade,
The Royal Family And The Poor,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.