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 Panama and from London.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb 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 Joyce Sims to the electroclash 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 Sight & Sound. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal disco 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 a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
The New Christs,
Liaisons Dangereuses,
Crash Course in Science,
Aural Exciters,
Harmonia,
KRS-One,
The Leaves,
The Names,
K-Klass,
Absolute Body Control,
The American Breed,
The Flesh Eaters,
Blake Baxter,
Can,
Eurythmics,
Easy Going,
Sonic Youth,
John Coltrane,
The Busters,
Strawberry Alarm Clock,
Motorama,
Tubeway Army,
Rowland S Howard / Lydia Lunch,
The Happenings,
Black Moon,
Barry Ungar,
cv313,
Boz Scaggs,
Minny Pops,
Marine Girls,
Slave,
Erykah Badu,
Stockholm Monsters,
DeepChord presents Echospace,
Avey Tare,
Glenn Branca,
The Gun Club,
JFA,
Fatback Band,
The Smiths,
Ten City,
The Music Machine,
Matthew Bourne,
The Toasters,
Suicide,
Darondo,
Roy Ayers Ubiquity,
Gary Puckett & The Union Gap,
Scion,
Marvin Gaye,
The Velvet Underground,
Swans,
MC5,
Wighnomy Brothers & Robag Wruhme,
Louis and Bebe Barron,
Angry Samoans,
Fluxion,
Gang Gang Dance,
Peter Gordon & Love of Life Orchestra,
the Germs,
Quadrant,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.