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 Niger and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Lagos.
I'm losing my edge to the art-school Bologna 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 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 Country Joe & The Fish to the rock 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 the Germs. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Nation of Ulysses 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Bang on a Can All-Stars,
Panda Bear,
OOIOO,
The Tremeloes,
The J.B.'s,
the Association,
The Dave Clark Five,
Danielle Patucci,
Thee Headcoats,
James Chance & The Contortions,
Art Ensemble Of Chicago,
Harry Pussy,
Bill Wells,
Model 500,
Todd Rundgren,
A Certain Ratio,
Silicon Teens,
The Associates,
The Detroit Cobras,
Roxette,
Average White Band,
Popol Vuh,
Rosa Yemen,
Gerry Rafferty,
Brothers Johnson,
Johnny Osbourne,
The Kinks,
Girls At Our Best!,
The Trojans,
Motorama,
EPMD,
Gichy Dan,
World's Most,
The Gap Band,
The Leaves,
The Jesus and Mary Chain,
The Monochrome Set,
Sly & The Family Stone,
Ultimate Spinach,
The Sisters of Mercy,
48th St. Collective,
Echospace,
London Community Gospel Choir,
Mary Jane Girls,
Marmalade,
Brass Construction,
Dennis Brown,
Jerry Gold Smith,
Rapeman,
Cameo,
Bang On A Can,
Sandy B,
Moebius,
Radiohead,
Interpol,
June Days,
Buzzcocks,
Ornette Coleman,
Gary Puckett & The Union Gap,
Main Source,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.