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 Romania and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1972.
I'm losing my edge.
To all the kids in Madrid and Tokyo.
I'm losing my edge to the art-school London 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Mission of Burma to the crunk kids.
I played it at the Roxy.
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 Monks. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Yaz 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 '80s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
The Blues Magoos,
The Associates,
Marmalade,
K-Klass,
Liliput,
The Jesus and Mary Chain,
Nick Fraelich,
Franke,
Delon & Dalcan,
The Dirtbombs,
Interpol,
the Bar-Kays,
Basic Channel,
Tubeway Army,
Gian Franco Pienzio,
Robert Wyatt,
Gary Puckett & The Union Gap,
Camberwell Now,
Throbbing Gristle,
D'Angelo,
The United States of America,
Pulsallama,
Michelle Simonal,
Japan,
Bush Tetras,
Sixth Finger,
Barclay James Harvest,
cv313,
The New Christs,
Blake Baxter,
Gregory Isaacs,
The Five Americans,
Rod Modell,
Tomorrow,
Oppenheimer Analysis,
Desert Stars,
Robert Görl,
Model 500,
The Cosmic Jokers,
Echospace,
Colin Newman,
The Index,
The Cowsills,
Motorama,
Funkadelic,
Pete Rock & C.L. Smooth,
Lou Reed & John Cale,
Lindisfarne,
Deadbeat,
The Gap Band,
The Durutti Column,
Ultimate Spinach,
Faraquet,
The Seeds,
Negative Approach,
Main Source,
Warsaw,
Ultravox,
Gerry Rafferty,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.