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 Israel and from Toronto.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Taipei and Milan.
I'm losing my edge to the art-school Salvador 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 808 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 The Divine Comedy to the funk kids.
I played it at the 40 Watt.
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 Cecil Taylor. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Steve Hackett,
Hoover,
Todd Terry,
Deepchord,
Das Ding,
Crash Course in Science,
Gang Gang Dance,
Angels of Light & Akron/Family,
Harmonia,
Magazine,
Black Pus,
Aural Exciters,
The Sisters of Mercy,
Pierre Henry,
The Young Rascals,
Jandek,
Procol Harum,
Television Personalities,
Infiniti,
Aloha Tigers,
Zapp,
Alice Coltrane,
Jesper Dahlbäck,
Sonny Sharrock,
Eli Mardock,
Country Joe & The Fish,
Section 25,
Lower 48,
Soft Machine,
The Gories,
Kayak,
The Count Five,
Outsiders,
X-101,
The Velvet Underground,
Fatback Band,
Anthony Braxton,
Arcadia,
Soul II Soul,
Popol Vuh,
Lakeside,
Saccharine Trust,
Roy Ayers,
Visionaries,LMNO, T- Love & Iriscience,
Dorothy Ashby,
Juan Atkins,
Aaron Thompson,
Traffic Nightmare,
Delon & Dalcan,
DJ Style,
Nation of Ulysses,
The Victims,
Henry Cow,
Rekid,
Ornette Coleman,
Jimmy McGriff,
Cecil Taylor,
Pete Rock & C.L. Smooth,
Skaos,
Quadrant,
Lee Hazlewood,
The Men They Couldn't Hang,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.