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 Czech Republic and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1976.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Toronto 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 organ 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 The Stooges to the disco 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 Masters at Work. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every China Crisis 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Spoonie Gee,
Tim Buckley,
Patti Smith,
Camouflage,
Delta 5,
Index,
DNA,
The J.B.'s,
Electric Prunes,
New York Dolls,
Todd Terry,
Bronski Beat,
Iggy Pop,
Ronnie Foster,
Neil Young & Crazy Horse,
Anakelly,
Mo-Dettes,
Cymande,
Roger Hodgson,
Crash Course in Science,
Joyce Sims,
Angry Samoans,
Drexciya,
Derrick May,
Aswad,
Fluxion,
Cecil Taylor,
Sunsets and Hearts,
Liaisons Dangereuses,
Thee Headcoats,
The Chocolate Watch Band,
Andrew Hill,
Arthur Verocai,
Wolf Eyes,
Nick Fraelich,
La Düsseldorf,
Duran Duran,
Mandrill,
Amon Düül II,
James Chance & The Contortions,
Gang Gang Dance,
The Blackbyrds,
OOIOO,
Lizzy Mercier Descloux,
a-ha,
June Days,
Rowland S Howard / Lydia Lunch,
Masters at Work,
Ituana,
Pet Shop Boys,
Erykah Badu,
Lee Hazlewood,
T.S.O.L.,
Crooked Eye,
Hasil Adkins,
Matthew Bourne,
Major Organ And The Adding Machine,
The Electric Prunes,
John Coltrane,
Sam Rivers,
Basic Channel,
Rapeman,
The Young Rascals,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.