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 Papua New Guinea and from Winnipeg.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Accra and Bologna.
I'm losing my edge to the art-school Mexico City 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Pierre Henry to the funk 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 The Young Rascals. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
Warsaw,
The West Coast Pop Art Experimental Band,
Crooked Eye,
Andrew Ashong & Theo Parrish,
Cybotron,
Simply Red,
Schoolly D,
Harpers Bizarre,
Loose Ends,
Jeru the Damaja,
Marvin Gaye,
Half Japanese,
Morten Harket,
Wighnomy Brothers & Robag Wruhme,
ABBA,
LL Cool J,
Arcadia,
Amon Düül,
Wolf Eyes,
Bang On A Can,
Supertramp,
Guru Guru,
Accadde A,
Spandau Ballet,
Orchestral Manoeuvres in the Dark,
DJ Style,
X-101,
Man Parrish,
China Crisis,
Rotary Connection,
Television,
Michelle Simonal,
The J.B.'s,
Erykah Badu,
Cheater Slicks,
Barbara Tucker,
Faust,
Yazoo,
Gil Scott Heron,
Super Lover Cee & Casanova Rud,
DNA,
K-Klass,
Intrusion,
Kenny Larkin,
The Dave Clark Five,
Neil Young & Crazy Horse,
Joe Smooth,
Reagan Youth,
Gabor Szabo,
Avey Tare's Slasher Flicks,
Mark Hollis,
Cabaret Voltaire,
Moby Grape,
The Real Kids,
Lebanon Hanover,
Rod Modell,
AZ,
Ultimate Spinach,
Livin' Joy,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.