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 Tajikistan and from Lyon.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Halifax.
I'm losing my edge to the art-school Madrid 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Lou Reed to the grime 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 Lalann. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Visage 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 '80s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio 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?
Be Bop Deluxe,
Terrestrial Tones,
Gang Gang Dance,
Barbara Tucker,
Franke,
The Doobie Brothers,
Jesper Dahlback,
The Slackers,
The Alarm Clocks,
Barry Ungar,
Fort Wilson Riot,
Lonnie Liston Smith,
The Pop Group,
Bauhaus,
Cheater Slicks,
Aloha Tigers,
Livin' Joy,
Camouflage,
The Sound,
Stetsasonic,
Warsaw,
Fela Kuti,
8 Eyed Spy,
The Fuzztones,
Bang On A Can,
the Swans,
DeepChord presents Echospace,
Rosa Yemen,
Gabor Szabo,
Rakim,
Bobby Byrd,
A Flock of Seagulls,
James White and The Blacks,
Sun City Girls,
The Five Americans,
Bobbi Humphrey,
MC5,
Terry Callier,
Anthony Braxton,
Jesper Dahlbäck,
In Retrospect,
Joyce Sims,
Bobby Hutcherson,
Pulsallama,
Dennis Brown,
Peter and Kerry,
X-101,
Brass Construction,
The Offenders,
Moebius,
Visionaries,LMNO, T- Love & Iriscience,
Pole,
Monks,
Grey Daturas,
Flipper,
Danielle Patucci,
DJ Sneak,
The Velvet Underground,
Panda Bear,
Organ,
Zero Boys,
Scratch Acid,
Hasil Adkins,
Iggy Pop, Iggy Pop, Iggy Pop, Iggy Pop.
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.