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 Tanzania and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Calgary and Manila.
I'm losing my edge to the art-school Lyon 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Archie Shepp to the jazz 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 New Order. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Nik Kershaw record on German import.
I heard that you have a white label of every seminal dance 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 a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Brand Nubian,
Siglo XX,
a-ha,
Aural Exciters,
Minnie Riperton,
Liaisons Dangereuses,
R.M.O.,
Black Moon,
Magazine,
The Royal Family And The Poor,
Dual Sessions,
Darondo,
Shoche,
Black Bananas,
Pulsallama,
Radio Birdman,
Schoolly D,
Curtis Mayfield,
Masters at Work,
Quando Quango,
Robert Hood,
Bootsy's Rubber Band,
Kayak,
Joensuu 1685,
Easy Going,
June of 44,
Hardrive,
Bang on a Can All-Stars,
The Men They Couldn't Hang,
De La Soul & Jungle Brothers,
Joe Finger,
Con Funk Shun,
Suicide,
Main Source,
Eddi Front,
Sixth Finger,
The Dirtbombs,
Surgeon,
Duran Duran,
Zero Boys,
Soul Sonic Force,
Buzzcocks,
Vainqueur,
Gong,
The Offenders,
Rowland S Howard / Lydia Lunch,
Ludus,
Ponytail,
Nico,
Sällskapet,
Graham Central Station,
Second Layer,
Supertramp,
Ultravox,
Josef K,
Boredoms,
Howard Jones,
Connie Case,
Massinfluence,
Girls At Our Best!,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.