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 Uruguay and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Houston and Manchester.
I'm losing my edge to the art-school Tehran 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Throbbing Gristle to the techno kids.
I played it at Trash.
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 June Days. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your linndrum and bought an oboe.
I hear that you and your band have sold your oboe and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Kerri Chandler,
Eurythmics,
Q and Not U,
Underground Resistance,
Cecil Taylor,
Crispy Ambulance,
The Techniques,
Buzzcocks,
Rhythm & Sound,
The Cosmic Jokers,
the Human League,
Royal Trux,
Tim Buckley,
Girls At Our Best!,
Camberwell Now,
The Blues Magoos,
The Cure,
Donny Hathaway,
The Moody Blues,
Notorious Big And Bone Thugs,
Whodini,
Strawberry Alarm Clock,
Be Bop Deluxe,
Harmonia,
H. Thieme,
Mission of Burma,
Red Lorry Yellow Lorry,
Bob Dylan,
The West Coast Pop Art Experimental Band,
Howard Jones,
Dual Sessions,
Sexual Harrassment,
Agent Orange,
Orchestral Manoeuvres in the Dark,
Siouxsie and the Banshees,
Visionaries,LMNO, T- Love & Iriscience,
Pole,
David McCallum,
Section 25,
The Human League,
Wolf Eyes,
MDC,
Johnny Clarke,
Gil Scott-Heron and Jamie xx,
The Jesus and Mary Chain,
Animal Collective,
The Slits,
Scion,
Quando Quango,
Dorothy Ashby,
Arthur Verocai,
Livin' Joy,
Unwound,
Wings,
Intrusion,
Rowland S Howard / Lydia Lunch,
Soul II Soul,
Vaughan Mason & Crew,
Alton Ellis,
Mad Mike,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.