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 Dominica and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Taipei and Jakarta.
I'm losing my edge to the art-school Delhi 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 Minnie Riperton to the rock 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 Bill Near. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Tubeway Army record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Ash Ra Tempel,
Nico,
Eddi Front,
Barrington Levy,
Masters at Work,
Slave,
The Dave Clark Five,
The Victims,
Banda Bassotti,
Sarah Menescal,
Yaz,
Theoretical Girls,
Schoolly D,
Stiv Bators,
Ornette Coleman,
Black Sheep,
Jacob Miller,
Girls At Our Best!,
The Buckinghams,
Sly & The Family Stone,
John Foxx,
Scott Walker + Sunn O))),
Gil Scott-Heron and Jamie xx,
Cluster,
Drexciya,
MC5,
Jimmy McGriff,
Joensuu 1685,
Brand Nubian,
The Associates,
Dark Day,
Nation of Ulysses,
Eurythmics,
Sad Lovers and Giants,
Outsiders,
The Doors,
Liaisons Dangereuses,
Lindisfarne,
Pantaleimon,
Radiohead,
Josef K,
Ronnie Foster,
EPMD,
Thompson Twins,
Soft Machine,
Barbara Tucker,
Al Stewart,
Tim Buckley,
Peter and Kerry,
Moby Grape,
Derrick Morgan,
Quando Quango,
Siglo XX,
Dorothy Ashby,
Prince Buster,
Judy Mowatt,
Quantec,
Procol Harum,
Fad Gadget,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.