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 Swaziland and from Seoul.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Tokyo.
I'm losing my edge to the art-school London 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Fat Boys to the grunge kids.
I played it at Trash.
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 Big Daddy Kane. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Lower 48,
Masters at Work,
Trumans Water,
Peter & Gordon,
48th St. Collective,
Eddi Front,
Lou Christie,
The American Breed,
Darondo,
Dorothy Ashby,
Pulsallama,
Black Bananas,
Lou Reed & John Cale,
Minny Pops,
Bluetip,
The Monks,
Howard Jones,
T. Rex,
Malaria!,
a-ha,
Sixth Finger,
Au Pairs,
Arthur Verocai,
Juan Atkins,
Jacob Miller,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
DeepChord presents Echospace,
Tres Demented,
Johnny Clarke,
The Names,
Outsiders,
Siouxsie and the Banshees,
Scratch Acid,
Prince Buster,
Todd Rundgren,
Morten Harket,
Accadde A,
Marine Girls,
Don Cherry,
Quadrant,
Rapeman,
Albert Ayler,
Mantronix,
Neu!,
Piero Umiliani,
Grandmaster Flash,
Delta 5,
Kerri Chandler,
Connie Case,
Jesper Dahlbäck,
Cabaret Voltaire,
Major Organ And The Adding Machine,
Kevin Saunderson,
London Community Gospel Choir,
Moby Grape,
Zero Boys,
The Flesh Eaters,
PIL,
Kings Of Tomorrow,
Urselle, Urselle, Urselle, Urselle.
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.