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 Japan and from Jakarta.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Shanghai 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 Bootsy Collins to the dance 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 Little Man. All the underground hits.
All Can tracks. I heard you have a vinyl of every Supertramp record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Soul II Soul,
Livin' Joy,
Tim Buckley,
Hardrive,
Bill Wells,
Tropical Tobacco,
Loose Ends,
Hasil Adkins,
Easy Going,
Black Bananas,
Kerri Chandler,
Thompson Twins,
The Skatalites,
Bill Near,
Can,
The Gap Band,
The Human League,
Wally Richardson,
Visage,
Harpers Bizarre,
Bizarre Inc.,
Massinfluence,
Marcia Griffiths,
The Detroit Cobras,
David Bowie,
Mad Mike,
Nick Fraelich,
The Victims,
Funkadelic,
Whodini,
The Techniques,
Monolake,
The Kinks,
the Slits,
Flipper,
Yellowson,
Albert Ayler,
Marshall Jefferson,
Eric B and Rakim,
The Mummies,
Gil Scott-Heron & Brian Jackson,
Franke,
PIL,
Archie Shepp,
Larry & the Blue Notes,
Skaos,
Bang On A Can,
The Raincoats,
New Age Steppers,
Soft Cell,
Make Up,
Scratch Acid,
Crime,
Delon & Dalcan,
The Real Kids,
The Beau Brummels,
Sam Rivers,
Gary Puckett & The Union Gap,
Lou Christie, Lou Christie, Lou Christie, Lou Christie.
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.