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 St Kitts & Nevis and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Houston 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Amon Düül to the funk kids.
I played it at the Hacienda.
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 DNA. All the underground hits.
All Nick Fraelich tracks. I heard you have a vinyl of every Roy Ayers 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
K-Klass,
Vaughan Mason & Crew,
Massinfluence,
Shuggie Otis,
Barclay James Harvest,
Bush Tetras,
Public Enemy,
The Fugs,
Ludus,
Suburban Knight,
Guru Guru,
X-102,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Golliwogs,
The Standells,
Bobby Womack,
Thompson Twins,
Notorious Big And Bone Thugs,
Flash Fearless,
Camouflage,
Flipper,
Jandek,
The Trojans,
The Wake,
Unrelated Segments,
Lyres,
Captain Beefheart & His Magic Band,
Fugazi,
La Düsseldorf,
F. McDonald,
James White and The Blacks,
Yellowson,
Joyce Sims,
Sällskapet,
Brass Construction,
Minny Pops,
the Sonics,
Marmalade,
The Knickerbockers,
The Neon Judgement,
Morten Harket,
Swell Maps,
Rosa Yemen,
Sister Nancy,
Section 25,
The Human League,
Pantaleimon,
Quantec,
Pantytec,
Major Organ And The Adding Machine,
Drexciya,
Rakim,
Can,
The Chocolate Watch Band,
the Association,
Matthew Halsall,
Motorama,
Teenage Jesus and the Jerks,
Gary Puckett & The Union Gap,
Drive Like Jehu,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.