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 Austria and from Delhi.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Manila 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 clarinet 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 Steve Hackett to the jazz kids.
I played it at the Roxy.
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 Marshall Jefferson. All the underground hits.
All This Heat tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
CMW,
The Walker Brothers,
Surgeon,
Lyres,
Alphaville,
Robert Wyatt,
Matthew Halsall,
The Searchers,
Cabaret Voltaire,
Avey Tare & Kría Brekkan,
Kool G Rap & DJ Polo,
Aural Exciters,
Bang on a Can All-Stars,
Livin' Joy,
Soft Machine,
The New Christs,
Outsiders,
Spandau Ballet,
Throbbing Gristle,
Todd Terry,
Be Bop Deluxe,
Wasted Youth,
Q and Not U,
Pere Ubu,
Reagan Youth,
Slave,
Crash Course in Science,
New Age Steppers,
Rites of Spring,
Flipper,
Circle Jerks,
Vaughan Mason & Crew,
Chris Corsano,
Brand Nubian,
Mars,
Althea and Donna,
Orchestral Manoeuvres in the Dark,
The Victims,
Boogie Down Productions,
Bootsy's Rubber Band,
David McCallum,
Wings,
Rahsaan Roland Kirk,
Cameo,
Kurtis Blow,
Newcleus,
Jawbox,
Franke,
Infiniti,
Young Marble Giants,
Jeff Lynne,
Little Man,
Visage,
Albert Ayler,
Bobby Hutcherson,
Jimmy McGriff,
Joey Negro,
Louis and Bebe Barron,
Tubeway Army,
Curtis Mayfield,
The Trojans, The Trojans, The Trojans, The Trojans.
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.