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 Belarus and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Madrid 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 oboe 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 Lafayette Afro Rock Band to the disco 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 Bobby Sherman. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Saccharine Trust 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sight & Sound record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Man Eating Sloth,
Jawbox,
The Angels of Light,
Agent Orange,
Depeche Mode,
Newcleus,
JFA,
Louis and Bebe Barron,
Wings,
Babytalk,
Richard Hell and the Voidoids,
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
Slave,
Sound Behaviour,
Radiohead,
Alton Ellis,
Pulsallama,
Jacques Brel,
DNA,
The Busters,
Alison Limerick,
Joey Negro,
L. Decosne,
Reagan Youth,
Art Ensemble Of Chicago,
Blake Baxter,
The Gladiators,
Crime,
The Fortunes,
Curtis Mayfield,
Girls At Our Best!,
Tears for Fears,
Bootsy's Rubber Band,
Steve Hackett,
The Slits,
The Pretty Things,
Clear Light,
Justin Hinds & The Dominoes,
Ralphi Rosario,
ABC,
Isaac Hayes,
The Motions,
Gary Puckett & The Union Gap,
Cecil Taylor,
The Doobie Brothers,
Terrestrial Tones,
The Seeds,
Circle Jerks,
Lightning Bolt,
Harry Pussy,
Procol Harum,
Fugazi,
Tommy Roe,
D'Angelo,
Magma,
The Trojans,
Rahsaan Roland Kirk,
Bluetip,
Sixth Finger,
Pylon,
Bush Tetras,
Derrick May, Derrick May, Derrick May, Derrick May.
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.