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 Belgium and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1972.
I'm losing my edge.
To all the kids in Accra and Portland.
I'm losing my edge to the art-school Stockholm 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 snare 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 Toni Rubio 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 Parry Music. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Josef K,
Motorama,
La Düsseldorf,
Chris & Cosey,
Faust,
The Dirtbombs,
Dennis Brown,
Yazoo,
Ohio Players,
Supertramp,
Electric Prunes,
Nation of Ulysses,
Tropical Tobacco,
Jawbox,
Au Pairs,
Louis and Bebe Barron,
Sunsets and Hearts,
Von Mondo,
Lou Reed,
New Age Steppers,
Wolf Eyes,
Mary Jane Girls,
Ice-T,
The Happenings,
Jimmy McGriff,
Bauhaus,
De La Soul & Jungle Brothers,
The Smiths,
Peter and Kerry,
Public Image Ltd.,
Lizzy Mercier Descloux,
Youth Brigade,
Nik Kershaw,
Absolute Body Control,
Bootsy Collins,
DNA,
Sällskapet,
Mission of Burma,
Joensuu 1685,
Lalo Schifrin,
CMW,
Graham Central Station,
Gastr Del Sol,
Flash Fearless,
Beasts of Bourbon,
Wasted Youth,
Urselle,
Section 25,
Surgeon,
Pierre Henry,
Thinking Fellers Union Local 282,
Camouflage,
Kerrie Biddell,
Radiohead,
Visionaries,LMNO, T- Love & Iriscience,
Letta Mbulu,
Steve Hackett,
The Seeds,
Anthony Braxton,
The Selecter, The Selecter, The Selecter, The Selecter.
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.