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 Gabon and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Taipei and Edmonton.
I'm losing my edge to the art-school Hong Kong 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Radio Birdman to the techno 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 Fear. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Sun Ra,
Radiohead,
DJ Style,
Pantytec,
U.S. Maple,
Cal Tjader,
Franke,
Public Enemy,
Half Japanese,
Albert Ayler,
The Kinks,
June of 44,
Rosa Yemen,
Malaria!,
Bobby Byrd,
Spandau Ballet,
The Buckinghams,
Roger Hodgson,
Joensuu 1685,
cv313,
Selector Dub Narcotic,
Sällskapet,
The Five Americans,
Pharoah Sanders,
Fort Wilson Riot,
Todd Terry,
The Smoke,
The Last Poets,
Maleditus Sound,
Scientists,
Q65,
Lebanon Hanover,
Brass Construction,
T.S.O.L.,
Flipper,
Clear Light,
Avey Tare's Slasher Flicks,
Juan Atkins,
Technova,
Oblivians,
Glambeats Corp.,
The Knickerbockers,
Gang Gang Dance,
Erasure,
Janne Schatter,
Aural Exciters,
Tubeway Army,
Tom Boy,
Graham Central Station,
Brick,
Can,
Jeff Mills,
Hardrive,
Excepter,
Dorothy Ashby,
ABBA,
The Trojans,
The Count Five,
The Slackers,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.