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 Israel and from Manchester.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Seoul 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 Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Major Organ And The Adding Machine to the punk kids.
I played it at the Crocodile.
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 David Axelrod. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every John Coltrane 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Pierre Henry,
Roger Hodgson,
Warsaw,
Faraquet,
Moebius,
Brick,
Jerry's Kids,
Roy Ayers,
Fad Gadget,
Bad Manners,
Kenny Larkin,
Avey Tare's Slasher Flicks,
Underground Resistance,
The Grass Roots,
Roxette,
The Associates,
B.T. Express,
CMW,
The Human League,
Pole,
Visionaries,LMNO, T- Love & Iriscience,
Judy Mowatt,
Parry Music,
Ultramagnetic MC's,
Frankie Knuckles,
The Cure,
Bauhaus,
Royal Trux,
The New Christs,
Echo & the Bunnymen,
Kauko Röyhkä ja Narttu,
The Doobie Brothers,
Saccharine Trust,
Darondo,
Lucky Dragons,
Severed Heads,
The Victims,
Young Marble Giants,
Max Romeo,
Soft Machine,
La Düsseldorf,
Stockholm Monsters,
The Move,
The Jesus and Mary Chain,
The Skatalites,
Sad Lovers and Giants,
Lalo Schifrin,
Tomorrow,
Faust,
Subhumans,
Wighnomy Brothers & Robag Wruhme,
Newcleus,
K-Klass,
Oblivians,
The Cramps,
Public Image Ltd.,
The Vogues,
The Gories,
The Mummies,
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.