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 Andorra and from Accra.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Manila.
I'm losing my edge to the art-school Bremen 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 sitar 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 Massinfluence to the disco kids.
I played it at the Spitz.
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 La Düsseldorf tracks. I heard you have a vinyl of every Theoretical Girls 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Carl Craig,
James Chance & The Contortions,
Sunsets and Hearts,
The Modern Lovers,
The Searchers,
Fifty Foot Hose,
The Moody Blues,
Piero Umiliani,
UT,
Gregory Isaacs,
The Knickerbockers,
Black Pus,
Ohio Players,
Magma,
Heavy D & The Boyz,
Monks,
Isaac Hayes,
Gastr Del Sol,
The Associates,
The Red Krayola,
Skaos,
Black Bananas,
Jacques Brel,
Country Teasers,
Index,
Guru Guru,
Kerrie Biddell,
The Sonics,
Pulsallama,
Half Japanese,
The Mighty Diamonds,
Steve Hackett,
Kango’s Stein Massive,
The Remains,
The Music Machine,
F. McDonald,
Gerry Rafferty,
Josef K,
Television,
The Dead C,
Rowland S Howard / Lydia Lunch,
Roxy Music,
CMW,
Radio Birdman,
Funkadelic,
Nas,
Flamin' Groovies,
Basic Channel,
Gang Gang Dance,
Alison Limerick,
Orchestral Manoeuvres in the Dark,
Fad Gadget,
48th St. Collective,
The Zeros,
ABBA,
Marvin Gaye,
Danielle Patucci,
Cluster,
John Lydon,
Circle Jerks,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.