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 Nigeria and from Columbus.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Tokyo 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 Feelies practice in a loft in Haledon.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Spandau Ballet to the techno kids.
I played it at Trash.
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 Associates. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Sun Ra,
Youth Brigade,
Magma,
The Tremeloes,
Graham Central Station,
Electric Light Orchestra,
Oneida,
Banda Bassotti,
The Real Kids,
Lonnie Liston Smith,
Kas Product,
Fat Boys,
Matthew Halsall,
Jesper Dahlback,
Boz Scaggs,
K-Klass,
Pantytec,
Japan,
Trumans Water,
Inner City,
Juan Atkins,
Chris Corsano,
The Jesus and Mary Chain,
Sonny Sharrock,
Pere Ubu,
Liaisons Dangereuses,
Gil Scott-Heron & Brian Jackson,
Colin Newman,
Major Organ And The Adding Machine,
Camberwell Now,
Icehouse,
The Durutti Column,
Franke,
Country Teasers,
Johnny Osbourne,
Althea and Donna,
The Gories,
The Grass Roots,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Martian,
Ronnie Foster,
The Sound,
The Victims,
The Count Five,
Jacques Brel,
48th St. Collective,
The Velvet Underground,
Pagans,
Bluetip,
Black Pus,
Audionom,
The Knickerbockers,
Bizarre Inc.,
Young Marble Giants,
Spandau Ballet,
Black Flag,
Danielle Patucci,
New York Dolls,
Skaos,
Roy Ayers,
The Names,
Ornette Coleman,
Judy Mowatt,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.