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 Italy and from Toronto.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Portland and Bremen.
I'm losing my edge to the art-school Salvador 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the chamberlin 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 Lungfish to the dance 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 Scott Walker. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every China Crisis 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Justin Hinds & The Dominoes record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
Gastr Del Sol,
Kerrie Biddell,
Drexciya,
Todd Rundgren,
Andrew Hill,
Bobbi Humphrey,
James Chance & The Contortions,
Cecil Taylor,
Main Source,
48th St. Collective,
New Order,
The Angels of Light,
Scientists,
Rod Modell,
Girls At Our Best!,
Procol Harum,
Jacques Brel,
Radiohead,
Lower 48,
Barbara Tucker,
Bobby Womack,
Arcadia,
Grandmaster Flash and the Furious Five,
Sixth Finger,
Japan,
The Sisters of Mercy,
Ultramagnetic MC's,
Sister Nancy,
Eurythmics,
Faust,
Quadrant,
The Beau Brummels,
Marcia Griffiths,
Byron Stingily,
Super Lover Cee & Casanova Rud,
Loose Ends,
The Electric Prunes,
Masters at Work,
Absolute Body Control,
Shoche,
Tim Buckley,
The Flesh Eaters,
Deutsch Amerikanische Freundschaft,
Sam Rivers,
The Standells,
Monks,
Sound Behaviour,
Kas Product,
Black Pus,
Moebius,
Sparks,
The Move,
The Gories,
Amon Düül,
Panda Bear,
Eyeless In Gaza,
Ohio Players,
Gang of Four,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.