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 Australia and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Audionom to the grime kids.
I played it at Cafe Wha.
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 the Sonics. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Brass Construction,
Skriet,
The Sound,
The Invisible,
Marcia Griffiths,
The Cramps,
The Fall,
the Human League,
Motorama,
Outsiders,
the Swans,
Maurizio,
Mandrill,
H. Thieme,
Surgeon,
The Sisters of Mercy,
Second Layer,
Aloha Tigers,
The Doors,
Black Pus,
The Raincoats,
Soul II Soul,
The Associates,
James Chance & The Contortions,
Mars,
The Happenings,
Suburban Knight,
The Angels of Light,
Terrestrial Tones,
Monks,
Wire,
Rowland S Howard / Lydia Lunch,
Pagans,
Vainqueur,
Franke,
Roxette,
Quadrant,
The J.B.'s,
Ituana,
Judy Mowatt,
Roy Ayers,
Roy Ayers Ubiquity,
Sly & The Family Stone,
PIL,
Chris & Cosey,
Röyhkä ja Rättö ja Lehtisalo,
Talk Talk,
Crash Course in Science,
Amon Düül,
Interpol,
Hasil Adkins,
The Electric Prunes,
The Mighty Diamonds,
Organ,
Sight & Sound,
Pharoah Sanders,
Todd Rundgren,
Dorothy Ashby,
KRS-One,
Bobby Byrd,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.