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 Ireland and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Toronto and Lyon.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 Matthew Halsall to the rock 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 DJ Style. All the underground hits.
All The Velvet Underground tracks. I heard you have a vinyl of every Gang of Four 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 '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
Louis and Bebe Barron,
Minutemen,
Skarface,
Qualms,
Bang On A Can,
Trumans Water,
Kerrie Biddell,
Pharaoh Sanders and the Fire Engines,
Bobbi Humphrey,
Pierre Henry,
Porter Ricks,
Eli Mardock,
Roxette,
Archie Shepp,
Lower 48,
Deakin,
Funkadelic,
The Martian,
Faraquet,
Icehouse,
Bang on a Can All-Stars,
Massinfluence,
Marc Almond,
The Birthday Party,
The Human League,
A Flock of Seagulls,
Sunsets and Hearts,
Negative Approach,
H. Thieme,
The Monochrome Set,
The Selecter,
Mantronix,
New York Dolls,
Sparks,
Khruangbin,
Tommy Roe,
Procol Harum,
The Angels of Light,
Electric Prunes,
Max Romeo,
Average White Band,
DJ Style,
Gary Puckett & The Union Gap,
Malaria!,
X-Ray Spex,
Gerry Rafferty,
Frankie Knuckles,
The Move,
Lou Christie,
MDC,
Fad Gadget,
Bootsy Collins,
Todd Terry,
Intrusion,
Brothers Johnson,
Alison Limerick,
David Axelrod,
Ultramagnetic MC's,
Supertramp,
Cybotron,
D'Angelo,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.