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 Paraguay and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Halifax and Delhi.
I'm losing my edge to the art-school Bologna 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio to the dance kids.
I played it at Cafe Wha.
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 Derrick Morgan. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
The Jesus and Mary Chain,
Dr. Dre and Snoop Doggy Dog,
Scion,
X-101,
Cybotron,
Man Parrish,
Eve St. Jones,
The Monks,
Soft Machine,
Idris Muhammad,
The Last Poets,
Graham Central Station,
Model 500,
Moebius,
Roxy Music,
Alison Limerick,
Rhythm & Sound,
Gerry Rafferty,
Juan Atkins,
Piero Umiliani,
Jacques Brel,
Scott Walker + Sunn O))),
The Zeros,
Basic Channel,
Grandmaster Flash,
Section 25,
Au Pairs,
Kool G Rap & DJ Polo,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
The Searchers,
Tim Buckley,
Masters at Work,
Peter & Gordon,
Bootsy Collins,
Flash Fearless,
Laurel Aitken,
The Tremeloes,
Joy Division,
Erasure,
Todd Terry,
Malaria!,
Delta 5,
Matthew Bourne,
AZ,
Parry Music,
Lou Reed & John Cale,
Niagra,
Morten Harket,
The J.B.'s,
Minor Threat,
Toni Rubio,
H. Thieme,
Rosa Yemen,
Don Cherry,
Ludus,
The Smoke,
The Index,
Eric Copeland,
Sex Pistols,
Flamin' Groovies,
T. Rex, T. Rex, T. Rex, T. Rex.
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.