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 Jakarta.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1976.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Shanghai 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 Lou Reed 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 Major Organ And The Adding Machine to the techno kids.
I played it at the Astoria.
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 Jandek. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Desert Stars 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
The Grass Roots,
Nas,
The Durutti Column,
Dual Sessions,
Boz Scaggs,
Amon Düül,
Kool G Rap & DJ Polo,
Hardrive,
The Associates,
Electric Prunes,
Johnny Clarke,
Josef K,
Be Bop Deluxe,
The Moody Blues,
The Evens,
The Fire Engines,
Au Pairs,
The Slits,
Massinfluence,
Moss Icon,
The Young Rascals,
Toni Rubio,
London Community Gospel Choir,
Accadde A,
Juan Atkins,
Y Pants,
The Mighty Diamonds,
Metal Thangz,
Silicon Teens,
Chris & Cosey,
Skarface,
Unrelated Segments,
Mark Hollis,
Slick Rick,
Jesper Dahlbäck,
The Black Dice,
Ultra Naté,
Robert Wyatt,
Section 25,
Sight & Sound,
Pete Rock & C.L. Smooth,
The Tremeloes,
Cal Tjader,
Cameo,
Harmonia,
The Pretty Things,
Wighnomy Brothers & Robag Wruhme,
Peter and Kerry,
Ronan,
ABC,
Tom Boy,
Pharoah Sanders,
The Dirtbombs,
Camron Feat. Jay Z And Juelz,
Shuggie Otis,
Crooked Eye,
Spoonie Gee,
Lalo Schifrin,
Nils Olav,
Eddi Front,
Orchestral Manoeuvres in the Dark,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.