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 St Kitts & Nevis and from Salvador.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Ossler to the dance 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 Liliput. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Morten Harket,
Lalo Schifrin,
Kool G Rap & DJ Polo,
Yaz,
Hoover,
Marmalade,
Stetsasonic,
Infiniti,
Moebius,
Joe Smooth,
AZ,
B.T. Express,
Reagan Youth,
Althea and Donna,
Vainqueur,
Rahsaan Roland Kirk,
Rakim,
Joensuu 1685,
Robert Görl,
Spandau Ballet,
Bizarre Inc.,
New Order,
Isaac Hayes,
Terrestrial Tones,
Fluxion,
Lightning Bolt,
Crispy Ambulance,
Spoonie Gee,
Magma,
Lucky Dragons,
Sunsets and Hearts,
James Chance & The Contortions,
Prince Buster,
Con Funk Shun,
Underground Resistance,
Max Romeo,
the Association,
Heaven 17,
Laurel Aitken,
Motorama,
Art Ensemble Of Chicago,
FM Einheit,
Piero Umiliani,
Jesper Dahlbäck,
Nik Kershaw,
Oneida,
Buzzcocks,
New Age Steppers,
The Alarm Clocks,
a-ha,
Freddie Wadling,
The Sound,
The Smiths,
Lafayette Afro Rock Band,
EPMD,
Robert Wyatt,
Inner City,
Throbbing Gristle,
The Detroit Cobras,
The Busters, The Busters, The Busters, The Busters.
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.