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 Romania and from Mexico City.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Au Pairs to the punk kids.
I played it at CBGB's.
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 Faraquet. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Pantaleimon,
Harry Pussy,
the Normal,
The Sisters of Mercy,
Vainqueur,
Gian Franco Pienzio,
Kango’s Stein Massive,
Warsaw,
Be Bop Deluxe,
The Jesus and Mary Chain,
Soul II Soul,
The Leaves,
Von Mondo,
Cluster,
Boz Scaggs,
The West Coast Pop Art Experimental Band,
Drive Like Jehu,
Deepchord,
Manfred Mann's Earth Band,
Pete Rock & C.L. Smooth,
The Angels of Light,
The Birthday Party,
The Blues Magoos,
Rapeman,
It's A Beautiful Day,
The Fall,
the Association,
The Offenders,
Ornette Coleman,
Flash Fearless,
Ultra Naté,
Bootsy's Rubber Band,
Aural Exciters,
Oneida,
Loose Ends,
Sister Nancy,
Minnie Riperton,
DJ Style,
Malaria!,
Scientists,
Bill Wells,
The Remains,
Roger Hodgson,
Lindisfarne,
Schoolly D,
Buzzcocks,
Shoche,
The Knickerbockers,
Gang Gang Dance,
Cal Tjader,
X-101,
The Zeros,
Lyres,
Gang of Four,
Q and Not U,
Hasil Adkins,
Supertramp,
Davy DMX,
Anakelly,
Lalo Schifrin,
Radiopuhelimet,
Mad Mike,
Country Joe & The Fish,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.