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 Taiwan and from Stockholm.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Lyon and Salvador.
I'm losing my edge to the art-school Portland 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the theremin 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 Gregory Isaacs to the electroclash 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 Brass Construction. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal rap 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 mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Flamin' Groovies,
Eli Mardock,
New York Dolls,
Eric B and Rakim,
Sam Rivers,
Mr. Review,
Rhythim Is Rhythim,
The Index,
Subhumans,
Howard Jones,
Malaria!,
The Red Krayola,
Anakelly,
John Holt,
Scrapy,
Fad Gadget,
The Doors,
the Human League,
Matthew Halsall,
Au Pairs,
Sight & Sound,
Minutemen,
Brick,
John Cale,
The Fall,
Dorothy Ashby,
The Golliwogs,
The Vogues,
Jawbox,
Dark Day,
Average White Band,
In Retrospect,
Grauzone,
Con Funk Shun,
X-102,
the Swans,
Fat Boys,
Black Pus,
Depeche Mode,
Rahsaan Roland Kirk,
Davy DMX,
Judy Mowatt,
Althea and Donna,
Ultravox,
Andrew Ashong & Theo Parrish,
The Count Five,
Visionaries,LMNO, T- Love & Iriscience,
Nils Olav,
Essential Logic,
Pagans,
Girls At Our Best!,
Cybotron,
The J.B.'s,
David Bowie,
The Mighty Diamonds,
The Motions,
Royal Trux,
The Associates,
Zapp,
The Kinks,
Fifty Foot Hose,
Ludus, Ludus, Ludus, Ludus.
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.