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 Nepal and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 The Fire Engines to the dance kids.
I played it at the Troubador.
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 The Sound. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
The Sonics,
Dawn Penn,
X-Ray Spex,
Susan Cadogan,
Graham Central Station,
the Swans,
The Kinks,
The Vogues,
Smog,
Neil Young,
Colin Newman,
Donald Byrd,
Pulsallama,
Piero Umiliani,
K-Klass,
Peter Gordon & Love of Life Orchestra,
Popol Vuh,
Rotary Connection,
AZ,
Pharoah Sanders,
A Certain Ratio,
Michelle Simonal,
Mary Jane Girls,
The Detroit Cobras,
Suicide,
Pere Ubu,
The Modern Lovers,
Thee Headcoats,
The Moleskins,
Glambeats Corp.,
Soft Machine,
Spoonie Gee,
Delon & Dalcan,
Andrew Hill,
Ultravox,
Gian Franco Pienzio,
Derrick May,
James Chance & The Contortions,
Boredoms,
Malaria!,
Swans,
Chris & Cosey,
Angry Samoans,
Negative Approach,
The Doobie Brothers,
Mr. Review,
Goldenarms,
Arab on Radar,
Boz Scaggs,
Flash Fearless,
Hasil Adkins,
Echospace,
Masters at Work,
The Divine Comedy,
John Lydon,
Gang of Four,
8 Eyed Spy,
Flamin' Groovies,
Josef K,
Sound Behaviour,
Gang Green,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.