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 Macedonia and from Johannesburg.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school Bremen 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the sitar 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 Kings Of Tomorrow to the dance kids.
I played it at the Spitz.
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 Second Layer. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every Ronan 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Evens,
Peter and Kerry,
Saccharine Trust,
The American Breed,
The Music Machine,
Wolf Eyes,
Funky Four + One,
The Pretty Things,
Moebius,
Ronan,
CMW,
Lou Reed,
the Sonics,
Thinking Fellers Union Local 282,
Procol Harum,
Vaughan Mason & Crew,
Bluetip,
Quantec,
Soul II Soul,
Sex Pistols,
Audionom,
Bauhaus,
Pussy Galore,
Neil Young,
Sight & Sound,
The Cure,
Flamin' Groovies,
Bobby Hutcherson,
Gang of Four,
Pierre Henry,
Mr. Review,
Throbbing Gristle,
Eurythmics,
Michelle Simonal,
Visionaries,LMNO, T- Love & Iriscience,
Desert Stars,
Darondo,
Bobby Womack,
Pantytec,
Alphaville,
The J.B.'s,
David Axelrod,
Index,
Peter & Gordon,
John Lydon,
Davy DMX,
Grauzone,
Monks,
Soft Machine,
The Smiths,
Minny Pops,
Matthew Bourne,
UT,
Quando Quango,
Marcia Griffiths,
The Motions,
Cluster,
A Certain Ratio,
Cybotron,
Connie Case,
Major Organ And The Adding Machine,
Alice Coltrane,
Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel, Ash Ra Tempel.
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.