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 Turkmenistan and from Columbus.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Lille.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Human League practice in a loft in Sheffield.
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 Chris & Cosey to the rock 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 Quantec. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Banda Bassotti,
Bang On A Can,
Robert Wyatt,
Johnny Osbourne,
Shoche,
Newcleus,
Dual Sessions,
The Invisible,
Marmalade,
Visage,
Dead Boys,
Rosa Yemen,
The Five Americans,
Terrestrial Tones,
Blossom Toes,
Bauhaus,
The American Breed,
Lyres,
Josef K,
Excepter,
Scott Walker,
R.M.O.,
Jeff Mills,
Severed Heads,
A Certain Ratio,
Scrapy,
Stiv Bators,
Laurel Aitken,
The Smiths,
Hardrive,
Minutemen,
Gang Gang Dance,
The Victims,
The Mighty Diamonds,
Cybotron,
Alice Coltrane,
Bobby Hutcherson,
Eric Dolphy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lou Reed & Metallica,
Bronski Beat,
Q and Not U,
Mark Hollis,
Masters at Work,
The Leaves,
Super Lover Cee & Casanova Rud,
Marcia Griffiths,
Joensuu 1685,
Kings Of Tomorrow,
Flamin' Groovies,
China Crisis,
Neil Young,
Avey Tare,
Man Parrish,
Glambeats Corp.,
The Cowsills,
Quando Quango,
Notorious BIG live in Amsterdam,
Thompson Twins,
The West Coast Pop Art Experimental Band,
The Beau Brummels,
Second Layer,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.