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 Nicaragua and from Lille.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Toronto.
I'm losing my edge to the art-school Jakarta 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Guru Guru to the funk 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 Alphaville. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
The Fugs,
Supertramp,
Bang On A Can,
Vaughan Mason & Crew,
The Black Dice,
The Busters,
Matthew Halsall,
Magazine,
Symarip,
Barclay James Harvest,
Das Ding,
Roy Ayers,
Alton Ellis,
Camouflage,
Lizzy Mercier Descloux,
Fatback Band,
Andrew Ashong & Theo Parrish,
Audionom,
James White and The Blacks,
Make Up,
Kayak,
The New Christs,
Procol Harum,
Ohio Players,
Faraquet,
The Move,
Ralphi Rosario,
The Slits,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter Gordon & Love of Life Orchestra,
Excepter,
The Trojans,
Newcleus,
Leonard Cohen,
New Age Steppers,
Bobbi Humphrey,
Glambeats Corp.,
The Fall,
Ossler,
B.T. Express,
Susan Cadogan,
Parry Music,
Lonnie Liston Smith,
The Selecter,
Al Stewart,
Crispian St. Peters,
Liaisons Dangereuses,
The Pop Group,
Neu!,
The Real Kids,
Vladislav Delay,
In Retrospect,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
Gang of Four,
Frankie Knuckles,
World's Most,
The Cosmic Jokers,
Pierre Henry,
Theoretical Girls,
The American Breed, The American Breed, The American Breed, The American Breed.
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.