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 Lithuania and from Jakarta.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Glasgow 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Nile Rodgers 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 Blake Baxter to the jazz kids.
I played it at the Astoria.
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 Strawberry Alarm Clock. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal funk 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 sitar and an organ 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 arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Sight & Sound,
David Bowie,
Boredoms,
Supertramp,
Gastr Del Sol,
Carl Craig,
Howard Jones,
A Flock of Seagulls,
Bootsy's Rubber Band,
Make Up,
Gary Puckett & The Union Gap,
The Sonics,
Slick Rick,
Roxy Music,
Skaos,
Deakin,
Outsiders,
The Selecter,
Larry & the Blue Notes,
Ultimate Spinach,
Vaughan Mason & Crew,
The Durutti Column,
Avey Tare's Slasher Flicks,
Cal Tjader,
Ralphi Rosario,
Graham Central Station,
Camberwell Now,
Lizzy Mercier Descloux,
Pagans,
Radio Birdman,
The Red Krayola,
Kerrie Biddell,
Red Lorry Yellow Lorry,
Stockholm Monsters,
Wally Richardson,
Animal Collective,
The Smoke,
The Dead C,
Banda Bassotti,
Yaz,
Bobby Byrd,
DeepChord presents Echospace,
Jacques Brel,
Franke,
The Leaves,
Ultravox,
Fluxion,
Rosa Yemen,
Urselle,
Trumans Water,
Swans,
Intrusion,
Terrestrial Tones,
Lucky Dragons,
Mad Mike,
Harry Pussy,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.