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 Kenya and from Accra.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Woodstock 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 The Victims to the rap kids.
I played it at the Troubador.
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 Alphaville. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Letta Mbulu,
David Bowie,
Average White Band,
Soulsonic Force,
Rowland S Howard / Lydia Lunch,
Neil Young,
The Fuzztones,
The Leaves,
Yazoo,
Lindisfarne,
Minny Pops,
The Cosmic Jokers,
Model 500,
Kerrie Biddell,
Brothers Johnson,
Kurtis Blow,
Strawberry Alarm Clock,
Robert Wyatt,
Gian Franco Pienzio,
Nas,
Depeche Mode,
Von Mondo,
Theoretical Girls,
Barclay James Harvest,
Throbbing Gristle,
In Retrospect,
Wighnomy Brothers & Robag Wruhme,
Sex Pistols,
Pantaleimon,
Saccharine Trust,
The Associates,
Ossler,
Pete Rock & C.L. Smooth,
The Litter,
Lucky Dragons,
the Human League,
Maleditus Sound,
Q65,
Traffic Nightmare,
Young Marble Giants,
Radio Birdman,
Sunsets and Hearts,
Stiv Bators,
Chris Corsano,
Interpol,
Sound Behaviour,
DJ Style,
Spandau Ballet,
Gong,
The Names,
The Monks,
Sugar Minott,
Panda Bear,
The American Breed,
Erasure,
Pet Shop Boys,
Sam Rivers,
The New Christs,
Liaisons Dangereuses,
Nation of Ulysses,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.