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 Jakarta.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Symarip to the dance 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 Litter. All the underground hits.
All The Leaves tracks. I heard you have a vinyl of every Flipper 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a FM Einheit record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Rapeman,
Wighnomy Brothers & Robag Wruhme,
Pulsallama,
Letta Mbulu,
R.M.O.,
The Raincoats,
Quadrant,
Kerri Chandler,
Joey Negro,
Jawbox,
Blossom Toes,
Chrome,
The Misunderstood,
Max Romeo,
Oblivians,
Orchestral Manoeuvres in the Dark,
Notorious BIG live in Amsterdam,
The Fuzztones,
Black Pus,
Desert Stars,
Barbara Tucker,
Michelle Simonal,
Magazine,
A Flock of Seagulls,
Eve St. Jones,
The Motions,
Rhythim Is Rhythim,
Kaleidoscope,
Model 500,
Lungfish,
Jesper Dahlback,
Mo-Dettes,
The Electric Prunes,
Brass Construction,
Beasts of Bourbon,
Gil Scott Heron,
Warren Ellis,
The Fire Engines,
Fifty Foot Hose,
Minnie Riperton,
Anakelly,
Lucky Dragons,
Liaisons Dangereuses,
Kings Of Tomorrow,
Panda Bear,
Roxy Music,
Electric Light Orchestra,
The Cramps,
Soul Sonic Force,
The Monks,
The Remains,
JFA,
Rotary Connection,
Joe Finger,
The Monochrome Set,
Bob Dylan,
Popol Vuh,
The Kinks,
Marc Almond,
Brick,
Pharaoh Sanders and the Fire Engines,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.