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 Vietnam and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Freddie Wadling to the grime 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 John Cale. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Duran Duran record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Be Bop Deluxe,
ABC,
Terry Callier,
Toni Rubio,
Quadrant,
The Royal Family And The Poor,
Outsiders,
FM Einheit,
Nation of Ulysses,
Swans,
Bootsy's Rubber Band,
Scrapy,
Magma,
Faraquet,
Judy Mowatt,
The Residents,
Grandmaster Flash and the Furious Five,
Dark Day,
June Days,
Camberwell Now,
Eli Mardock,
Pylon,
Little Man,
Jerry Gold Smith,
Stockholm Monsters,
Archie Shepp,
The Selecter,
Orchestral Manoeuvres in the Dark,
Suicide,
Super Lover Cee & Casanova Rud,
Aural Exciters,
Fort Wilson Riot,
Delon & Dalcan,
Niagra,
Young Marble Giants,
Traffic Nightmare,
The Motions,
Byron Stingily,
The Mummies,
The Victims,
Brass Construction,
Quando Quango,
The Five Americans,
Sad Lovers and Giants,
Kings Of Tomorrow,
Sixth Finger,
Gary Puckett & The Union Gap,
Unrelated Segments,
Marcia Griffiths,
The American Breed,
The Litter,
Shoche,
The Gap Band,
Magazine,
Porter Ricks,
Ten City,
Grauzone,
Rotary Connection,
Japan,
The Moleskins,
Alison Limerick,
Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose, Fifty Foot Hose.
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.