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 Dominica and from Paris.
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 1970.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Cairo 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 marimba 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 Soft Machine to the rock kids.
I played it at the Hacienda.
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 Move. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dr. Dre and Snoop Doggy Dog,
Hoover,
Tim Buckley,
The Royal Family And The Poor,
London Community Gospel Choir,
Stetsasonic,
Avey Tare,
Barry Ungar,
The Blackbyrds,
Sight & Sound,
the Soft Cell,
Rufus Thomas,
John Cale,
Harry Pussy,
The Monochrome Set,
K-Klass,
Deepchord,
Eric B and Rakim,
Cabaret Voltaire,
The Tremeloes,
Con Funk Shun,
Pole,
Andrew Hill,
Ice-T,
The Fugs,
Public Image Ltd.,
Nik Kershaw,
The Black Dice,
Moebius,
Ralphi Rosario,
Arcadia,
Faraquet,
The Birthday Party,
DJ Sneak,
Delon & Dalcan,
the Swans,
the Association,
Deutsch Amerikanische Freundschaft,
Can,
The Velvet Underground,
Jeff Mills,
Michelle Simonal,
Section 25,
Hot Snakes,
The Names,
Radiopuhelimet,
John Coltrane,
Main Source,
Teenage Jesus and the Jerks,
The Seeds,
Masters at Work,
Kenny Larkin,
Fort Wilson Riot,
Visionaries,LMNO, T- Love & Iriscience,
Nico,
Scan 7,
Sixth Finger,
Grandmaster Flash,
Deadbeat,
Connie Case,
Soft Machine,
U.S. Maple,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.