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 Trinidad & Tobago and from Tokyo.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Manchester 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 1976 at the first Wire practice in a loft in Watford.
I was working on the harpsichord 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 Lungfish to the jazz 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 Howard Jones. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Man Parrish 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Brand Nubian,
Subhumans,
The Busters,
Jawbox,
Amazonics,
The Cowsills,
Motorama,
Arab on Radar,
Negative Approach,
Scratch Acid,
The Gun Club,
The Human League,
The Dave Clark Five,
Black Flag,
Liaisons Dangereuses,
Interpol,
The Seeds,
The Five Americans,
Faust,
Terry Callier,
Andrew Ashong & Theo Parrish,
The Sound,
Curtis Mayfield,
Notorious BIG live in Amsterdam,
Visage,
Laurel Aitken,
Soft Machine,
Surgeon,
Captain Beefheart & His Magic Band,
Godley & Creme,
Lalann,
the Fania All-Stars,
Trumans Water,
The Happenings,
Pylon,
Cameo,
Robert Hood,
a-ha,
Tubeway Army,
PIL,
Gang Gang Dance,
Tres Demented,
The Peanut Butter Conspiracy,
Justin Hinds & The Dominoes,
June Days,
Charles Mingus,
Desert Stars,
The Alarm Clocks,
Cluster,
Red Lorry Yellow Lorry,
EPMD,
Yusef Lateef,
Ultra Naté,
Marvin Gaye,
The Monks,
John Cale,
Wasted Youth,
Moebius,
The Sonics,
Excepter, Excepter, Excepter, Excepter.
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.