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 Iraq and from Taipei.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Houston and Glasgow.
I'm losing my edge to the art-school Spokane 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 The Moleskins to the crunk kids.
I played it at CBGB's.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
Alison Limerick,
Johnny Clarke,
Main Source,
Eden Ahbez,
Eric Dolphy,
Parry Music,
Todd Terry,
Lalo Schifrin,
B.T. Express,
Nation of Ulysses,
Lou Reed & John Cale,
Bang on a Can All-Stars,
Ken Boothe,
Rites of Spring,
Tommy Roe,
The Five Americans,
The Move,
Sly & The Family Stone,
Clear Light,
Stereo Dub,
Echospace,
The Smoke,
The Walker Brothers,
The Star Department,
Gang of Four,
The Cure,
The Offenders,
Brand Nubian,
Eve St. Jones,
Bill Near,
Yaz,
cv313,
Toni Rubio,
Q and Not U,
D'Angelo,
Black Sheep,
Monks,
John Lydon,
Terry Callier,
Gichy Dan,
Depeche Mode,
Moby Grape,
Sex Pistols,
Bronski Beat,
The Buckinghams,
Kas Product,
Sad Lovers and Giants,
The Beau Brummels,
Traffic Nightmare,
Barbara Tucker,
The Black Dice,
Visionaries,LMNO, T- Love & Iriscience,
Robert Wyatt,
Organ,
The J.B.'s,
Mars,
Tom Boy,
Suburban Knight,
Faraquet,
Kenny Larkin,
Rufus Thomas,
Morten Harket,
Crispian St. Peters,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.