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 Congo and from Bremen.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Bologna and Edmonton.
I'm losing my edge to the art-school Paris 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 The Index to the funk kids.
I played it at Cafe Wha.
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 Arcadia. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal crunk 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 an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo 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?
Babytalk,
Bobby Womack,
D'Angelo,
The Doors,
Nick Cave & The Bad Seeds,
The Walker Brothers,
Eric B and Rakim,
The Slackers,
The Modern Lovers,
Dead Boys,
The Trojans,
Hardrive,
Cabaret Voltaire,
E-Dancer,
Lee Hazlewood,
Rod Modell,
Schoolly D,
Dark Day,
Roy Ayers Ubiquity,
The Angels of Light,
Lalann,
Arthur Verocai,
The Star Department,
Derrick May,
Agent Orange,
Mark Hollis,
Matthew Halsall,
John Coltrane,
Jimmy McGriff,
Al Stewart,
Mr. Review,
Severed Heads,
8 Eyed Spy,
Dorothy Ashby,
Pussy Galore,
Sexual Harrassment,
Oppenheimer Analysis,
Graham Central Station,
Maleditus Sound,
Funkadelic,
Skriet,
Camron Feat. Jay Z And Juelz,
Terry Callier,
Ultra Naté,
10cc,
Stereo Dub,
Glenn Branca,
Silicon Teens,
Scientists,
Sight & Sound,
The Associates,
Ken Boothe,
In Retrospect,
X-101,
John Foxx,
Marc Almond,
Essential Logic,
Kool Moe Dee,
The Beau Brummels,
Sound Behaviour,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.