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 Morocco and from Accra.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1978.
I'm losing my edge.
To all the kids in Houston and Jakarta.
I'm losing my edge to the art-school Cairo 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 arpeggiator 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 Lebanon Hanover to the electroclash kids.
I played it at the 40 Watt.
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 Rod Modell. All the underground hits.
All Fear tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Heavy D & The Boyz,
Lou Reed & John Cale,
The Star Department,
Fatback Band,
This Heat,
Kango’s Stein Massive,
Stiv Bators,
Lou Christie,
David Axelrod,
Donald Byrd,
Second Layer,
Mandrill,
Amon Düül,
Robert Wyatt,
The Cowsills,
Flipper,
The Sonics,
Adolescents,
Reagan Youth,
Angels of Light & Akron/Family,
Dark Day,
The Five Americans,
Infiniti,
Susan Cadogan,
Oppenheimer Analysis,
Hashim,
Derrick Morgan,
Gil Scott Heron,
Silicon Teens,
Ohio Players,
Eric Dolphy,
The West Coast Pop Art Experimental Band,
The Knickerbockers,
Isaac Hayes,
the Fania All-Stars,
The Divine Comedy,
The New Christs,
Teenage Jesus and the Jerks,
Brothers Johnson,
Liaisons Dangereuses,
Ornette Coleman,
Louis and Bebe Barron,
Graham Central Station,
48th St. Collective,
The Beau Brummels,
Marvin Gaye,
The Misunderstood,
Colin Newman,
Lou Reed & Metallica,
Reuben Wilson,
The Count Five,
Kerri Chandler,
T. Rex,
The Residents,
The Golliwogs,
Nation of Ulysses,
Ultimate Spinach,
the Soft Cell,
Khruangbin, Khruangbin, Khruangbin, Khruangbin.
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.