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 Guinea and from Mumbai.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Taipei and Winnipeg.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron 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 Traffic Nightmare to the techno kids.
I played it at the Hacienda.
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 Joy Division. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '60s cut and another box set from the '80s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
New York Dolls,
Jesper Dahlbäck,
a-ha,
The Happenings,
Grandmaster Flash and the Furious Five,
Man Eating Sloth,
Andrew Ashong & Theo Parrish,
Orchestral Manoeuvres in the Dark,
Pagans,
The Move,
The Royal Family And The Poor,
Fatback Band,
Heaven 17,
David Axelrod,
Erasure,
Amon Düül II,
Bush Tetras,
Wasted Youth,
Easy Going,
Ronan,
Alison Limerick,
D'Angelo,
The Smiths,
Sarah Menescal,
Audionom,
The Selecter,
Symarip,
48th St. Collective,
X-102,
The Wake,
Larry & the Blue Notes,
The Fortunes,
Skaos,
Pharaoh Sanders and the Fire Engines,
Sugar Minott,
E-Dancer,
Von Mondo,
The J.B.'s,
Black Flag,
Lungfish,
Organ,
Johnny Clarke,
Index,
Parry Music,
Suburban Knight,
The Mighty Diamonds,
Kool Moe Dee,
Susan Cadogan,
Grandmaster Flash,
The West Coast Pop Art Experimental Band,
Mr. Review,
Rahsaan Roland Kirk,
Electric Light Orchestra,
Major Organ And The Adding Machine,
The Beau Brummels,
Cymande,
The Golliwogs,
Kings Of Tomorrow,
Yazoo,
Vaughan Mason & Crew,
Scan 7, Scan 7, Scan 7, Scan 7.
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.