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 Russia and from Beijing.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Black Bananas to the rap 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 The Men They Couldn't Hang. All the underground hits.
All CMW tracks. I heard you have a vinyl of every Heavy D & The Boyz 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 '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Dirtbombs,
Orchestral Manoeuvres in the Dark,
Newcleus,
Thompson Twins,
Country Joe & The Fish,
Eric Copeland,
Harmonia,
Eve St. Jones,
Freddie Wadling,
The New Christs,
Masters at Work,
Graham Central Station,
Rhythm & Sound,
Marvin Gaye,
Sällskapet,
Au Pairs,
China Crisis,
Ohio Players,
The Divine Comedy,
The American Breed,
Gabor Szabo,
ABC,
The Slits,
One Last Wish,
MC5,
Camberwell Now,
Blancmange,
The Vogues,
Art Ensemble Of Chicago,
Fort Wilson Riot,
Quando Quango,
The Zeros,
Roger Hodgson,
Stetsasonic,
Danielle Patucci,
Gary Puckett & The Union Gap,
Fad Gadget,
The Peanut Butter Conspiracy,
Electric Prunes,
a-ha,
Jacob Miller,
The Mighty Diamonds,
Bootsy Collins,
Harry Pussy,
Alton Ellis,
Pylon,
Lungfish,
Radiohead,
Howard Jones,
Marine Girls,
Visage,
Schoolly D,
Franke,
Theoretical Girls,
Ultimate Spinach,
Jawbox,
Marshall Jefferson,
Wolf Eyes,
Charles Mingus,
Nas,
Louis and Bebe Barron,
Barbara Tucker, Barbara Tucker, Barbara Tucker, Barbara Tucker.
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.