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 Sierra Leone and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1973.
I'm losing my edge.
To all the kids in Beijing and Columbus.
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 oboe 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 The Martian to the jazz kids.
I played it at CBGB's.
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 The Buckinghams. All the underground hits.
All New Order tracks. I heard you have a vinyl of every Bobbi Humphrey 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 '90s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Notorious Big And Bone Thugs,
The Durutti Column,
The Searchers,
Vladislav Delay,
Camouflage,
Procol Harum,
The West Coast Pop Art Experimental Band,
Bootsy Collins,
Steve Hackett,
Robert Hood,
The Fall,
Young Marble Giants,
Flamin' Groovies,
Grauzone,
Fear,
Roy Ayers Ubiquity,
Pantytec,
Vaughan Mason & Crew,
The Kinks,
Barry Ungar,
Godley & Creme,
Byron Stingily,
One Last Wish,
Sun City Girls,
Eurythmics,
The Mummies,
Main Source,
Cameo,
Swans,
Public Enemy,
Joey Negro,
Jesper Dahlbäck,
Unrelated Segments,
Neil Young,
Curtis Mayfield,
Alphaville,
Circle Jerks,
Gregory Isaacs,
Jawbox,
Skaos,
Wire,
The Birthday Party,
The Trojans,
Gil Scott Heron,
Kerrie Biddell,
Lafayette Afro Rock Band,
Au Pairs,
Model 500,
Visionaries,LMNO, T- Love & Iriscience,
Unwound,
The Red Krayola,
AZ,
Robert Görl,
the Fania All-Stars,
Art Ensemble Of Chicago,
Essential Logic,
Icehouse,
Bill Wells,
Angry Samoans,
The Sonics,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.