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 Syria and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Rod Modell to the disco kids.
I played it at the Spitz.
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 Tremeloes. All the underground hits.
All The Wake 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 dance 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Arab on Radar,
L. Decosne,
Notorious BIG live in Amsterdam,
Susan Cadogan,
Eli Mardock,
John Lydon,
The Grass Roots,
Althea and Donna,
The Jesus and Mary Chain,
Mr. Review,
K-Klass,
Dual Sessions,
The Detroit Cobras,
Aaron Thompson,
The Buckinghams,
Wolf Eyes,
Grandmaster Flash,
The Monks,
Janne Schatter,
Kool Moe Dee,
Hot Snakes,
Easy Going,
Scrapy,
Art Ensemble Of Chicago,
the Bar-Kays,
Von Mondo,
DeepChord presents Echospace,
Sunsets and Hearts,
Lee Hazlewood,
Lindisfarne,
Jeru the Damaja,
Marcia Griffiths,
Crash Course in Science,
Tres Demented,
Fela Kuti,
Jeff Lynne,
Bobby Womack,
The Gories,
The Fortunes,
Skriet,
Blake Baxter,
Harry Pussy,
Second Layer,
Sparks,
Marmalade,
Peter and Kerry,
The Barracudas,
Robert Wyatt,
Minutemen,
Curtis Mayfield,
Blossom Toes,
James White and The Blacks,
Gastr Del Sol,
Connie Case,
Excepter,
Scan 7,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.