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 Rwanda and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
I'm losing my edge to the art-school Madrid 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 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 Barry Ungar to the rock 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 Danielle Patucci. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Kaleidoscope record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Ajijia Myrayebe,
The Angels of Light,
Steve Hackett,
Nation of Ulysses,
Gabor Szabo,
48th St. Collective,
Basic Channel,
Bobby Sherman,
Technova,
Ralphi Rosario,
Bootsy's Rubber Band,
Avey Tare,
Eric Dolphy,
Teenage Jesus and the Jerks,
Peter & Gordon,
Minny Pops,
The Fire Engines,
Crispian St. Peters,
Wings,
The J.B.'s,
Sandy B,
Richard Hell and the Voidoids,
Khruangbin,
Slick Rick,
Danielle Patucci,
Severed Heads,
Dennis Brown,
Outsiders,
Ice-T,
Judy Mowatt,
Arab on Radar,
Ken Boothe,
Ash Ra Tempel,
Laurel Aitken,
Jeff Lynne,
Anthony Braxton,
Terry Callier,
Wolf Eyes,
Scrapy,
Heavy D & The Boyz,
The Blues Magoos,
Heaven 17,
Crooked Eye,
Oblivians,
Henry Cow,
Joe Finger,
Moebius,
Pussy Galore,
Scientists,
Altered Images,
Gang Starr,
Vainqueur,
Brothers Johnson,
Bizarre Inc.,
Dual Sessions,
Dark Day,
Art Ensemble Of Chicago,
Barry Ungar,
Index,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.