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 Saudi Arabia and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Cairo.
I'm losing my edge to the art-school Houston 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 Peter and Kerry to the techno 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 Supertramp. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Young Marble Giants record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes 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 Tremeloes,
Dead Boys,
Section 25,
Lalo Schifrin,
Crooked Eye,
The Gun Club,
Amon Düül II,
Cymande,
Babytalk,
DJ Style,
Rotary Connection,
Ultimate Spinach,
Arthur Verocai,
Kas Product,
the Germs,
B.T. Express,
Heavy D & The Boyz,
FM Einheit,
Sun Ra,
Drexciya,
Tom Boy,
Donny Hathaway,
Terrestrial Tones,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Nik Kershaw,
Peter & Gordon,
The Techniques,
Mars,
Johnny Osbourne,
The Cowsills,
Roger Hodgson,
The Offenders,
Soulsonic Force,
Model 500,
Ludus,
Roy Ayers Ubiquity,
Little Man,
Masters at Work,
The Smiths,
Saccharine Trust,
Niagra,
Super Lover Cee & Casanova Rud,
Siouxsie and the Banshees,
Stiv Bators,
The Shadows of Knight,
Kango’s Stein Massive,
The New Christs,
X-102,
The Toasters,
Radio Birdman,
Barrington Levy,
Main Source,
Andrew Hill,
Lower 48,
Oppenheimer Analysis,
Negative Approach,
Man Parrish,
Carl Craig,
Lizzy Mercier Descloux,
Aswad,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.