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 Netherlands and from Portland.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Lille 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 The Dirtbombs to the punk kids.
I played it at the Troubador.
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 Kool Moe Dee. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Radiopuhelimet record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Section 25,
Country Teasers,
Chrome,
Parry Music,
The Techniques,
X-Ray Spex,
the Germs,
Kool Moe Dee,
Bizarre Inc.,
Tropical Tobacco,
Jeff Mills,
Sexual Harrassment,
The Doors,
The Velvet Underground,
Scan 7,
Trumans Water,
the Soft Cell,
Lalo Schifrin,
Juan Atkins,
UT,
Ronan,
Roy Ayers,
Groovy Waters,
Brass Construction,
Sandy B,
Heaven 17,
Deutsch Amerikanische Freundschaft,
Electric Light Orchestra,
Siouxsie and the Banshees,
Livin' Joy,
the Bar-Kays,
The Skatalites,
Basic Channel,
Can,
T. Rex,
Wings,
James White and The Blacks,
Black Bananas,
Y Pants,
Darondo,
The Five Americans,
Orchestral Manoeuvres in the Dark,
Excepter,
Joy Division,
June Days,
the Swans,
Howard Jones,
Depeche Mode,
Sun Ra Arkestra,
Cal Tjader,
Maurizio,
Fluxion,
Crooked Eye,
The Wake,
Sam Rivers,
Kerrie Biddell,
Bobby Sherman,
Art Ensemble Of Chicago,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.