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 Macedonia and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Madrid and Paris.
I'm losing my edge to the art-school Johannesburg 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 mellotron 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 K-Klass to the grunge kids.
I played it at the 40 Watt.
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 Barrington Levy. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U 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?
Con Funk Shun,
Thompson Twins,
Howard Jones,
Flamin' Groovies,
Jacob Miller,
The Electric Prunes,
Charles Mingus,
Derrick May,
Drive Like Jehu,
Excepter,
FM Einheit,
Agent Orange,
the Swans,
Lyres,
Royal Trux,
Rod Modell,
The Mummies,
Byron Stingily,
The Shadows of Knight,
Deakin,
Jesper Dahlback,
Blancmange,
James White and The Blacks,
Simply Red,
Bobby Womack,
Half Japanese,
Lindisfarne,
Unwound,
Soulsonic Force,
The Sound,
Popol Vuh,
Scrapy,
Deutsch Amerikanische Freundschaft,
Terrestrial Tones,
The Monks,
OOIOO,
Joyce Sims,
Jimmy McGriff,
Mr. Review,
Bizarre Inc.,
Man Eating Sloth,
China Crisis,
Gastr Del Sol,
Nik Kershaw,
Rhythim Is Rhythim,
Eric Copeland,
Andrew Ashong & Theo Parrish,
Hoover,
Parry Music,
Essential Logic,
Marmalade,
Aaron Thompson,
Reagan Youth,
Ohio Players,
Nick Fraelich,
Röyhkä ja Rättö ja Lehtisalo,
James Chance & The Contortions,
Freddie Wadling,
Deadbeat,
Dark Day,
Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band, Manfred Mann's Earth Band.
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.