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 Guinea and from Milan.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Banda Bassotti to the grime kids.
I played it at Trash.
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 Radiopuhelimet. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Cluster 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Can,
Roy Ayers Ubiquity,
Nick Cave & The Bad Seeds,
Black Bananas,
R.M.O.,
Swans,
Jimmy McGriff,
Cheater Slicks,
The Litter,
Don Cherry,
Section 25,
Jeff Lynne,
The Sisters of Mercy,
Ronnie Foster,
Depeche Mode,
Josef K,
E-Dancer,
One Last Wish,
Electric Prunes,
Neu!,
Funky Four + One,
Young Marble Giants,
Technova,
Excepter,
LL Cool J,
Bill Near,
Toni Rubio,
Adolescents,
Kenny Larkin,
Newcleus,
Quando Quango,
The Star Department,
Echo & the Bunnymen,
Pere Ubu,
Ten City,
Soul II Soul,
Danielle Patucci,
The Gun Club,
Lebanon Hanover,
The Doobie Brothers,
Sun Ra,
10cc,
Yellowson,
Scientists,
Delon & Dalcan,
Ralphi Rosario,
Morten Harket,
Kings Of Tomorrow,
The Pop Group,
The Fall,
Minnie Riperton,
Crooked Eye,
Rowland S Howard / Lydia Lunch,
Max Romeo,
Oneida,
Cabaret Voltaire,
Fatback Band,
K-Klass,
Sugar Minott,
Fela Kuti,
Richard Hell and the Voidoids,
Fat Boys,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.