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 Togo and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1973.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school Johannesburg 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Intrusion to the dance kids.
I played it at the Crocodile.
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 Make Up. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The West Coast Pop Art Experimental Band,
Röyhkä ja Rättö ja Lehtisalo,
Alice Coltrane,
Guru Guru,
The Alarm Clocks,
Underground Resistance,
Heavy D & The Boyz,
Kas Product,
The Beau Brummels,
Nation of Ulysses,
Lungfish,
Max Romeo,
Thee Headcoats,
Flash Fearless,
Sällskapet,
Reagan Youth,
This Heat,
Gary Puckett & The Union Gap,
Andrew Ashong & Theo Parrish,
Bang On A Can,
Porter Ricks,
Intrusion,
Delta 5,
The Young Rascals,
Parry Music,
CMW,
China Crisis,
Graham Central Station,
The Dirtbombs,
Ajijia Myrayebe,
Funky Four + One,
Richard Hell and the Voidoids,
Unrelated Segments,
In Retrospect,
Kevin Saunderson,
Hot Snakes,
Lou Reed,
Pete Rock & C.L. Smooth,
Pantaleimon,
Terrestrial Tones,
Mission of Burma,
Rhythm & Sound,
OOIOO,
Icehouse,
Simply Red,
Albert Ayler,
Vainqueur,
Buzzcocks,
Al Stewart,
Brass Construction,
Nas,
James White and The Blacks,
The Chocolate Watch Band,
Blancmange,
Hoover,
The Cosmic Jokers,
Grandmaster Flash,
Lonnie Liston Smith,
Aloha Tigers,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.