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 Jamaica and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1970.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Cairo 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 oboe 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 Skaos to the disco kids.
I played it at the Roxy.
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 Max Romeo. All the underground hits.
All The Victims tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Half Japanese,
June of 44,
Stiv Bators,
Trumans Water,
Sonic Youth,
The Smiths,
Das Ding,
Shuggie Otis,
Television Personalities,
The Walker Brothers,
Skaos,
Sarah Menescal,
Notorious Big And Bone Thugs,
Mary Jane Girls,
The Star Department,
London Community Gospel Choir,
Vladislav Delay,
Schoolly D,
John Cale,
The Chocolate Watch Band,
Yellowson,
Andrew Ashong & Theo Parrish,
Simply Red,
The Gladiators,
The Slackers,
Rekid,
Ultimate Spinach,
Pharoah Sanders,
The Smoke,
Thinking Fellers Union Local 282,
The New Christs,
Amon Düül,
Chris Corsano,
Vainqueur,
The Gun Club,
Scan 7,
The Doors,
Ituana,
Basic Channel,
Sam Rivers,
The Move,
the Human League,
Ornette Coleman,
Warsaw,
Darondo,
Frankie Knuckles,
Pete Rock & C.L. Smooth,
A Flock of Seagulls,
The Divine Comedy,
Fat Boys,
Vaughan Mason & Crew,
Lalo Schifrin,
Duran Duran,
David Axelrod,
Marine Girls,
Glambeats Corp.,
Black Moon,
Lou Reed & Metallica,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.