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 Uruguay and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Tokyo 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 Robert Palmer 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 Amon Düül II to the rap kids.
I played it at the Hacienda.
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 Anthony Braxton. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Halsall record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
Neu!,
Eden Ahbez,
Josef K,
Mantronix,
Royal Trux,
Marc Almond,
Erykah Badu,
Deepchord,
The Victims,
New York Dolls,
The Barracudas,
Donny Hathaway,
Nick Cave & The Bad Seeds,
Nation of Ulysses,
The Selecter,
Alphaville,
Delta 5,
Cymande,
The Fugs,
Supertramp,
KRS-One,
The Music Machine,
Rahsaan Roland Kirk,
Erasure,
The Martian,
Quando Quango,
Model 500,
The Velvet Underground,
The Jesus and Mary Chain,
Brass Construction,
Bush Tetras,
Blake Baxter,
Ossler,
World's Most,
Siouxsie and the Banshees,
The Real Kids,
Crime,
Sällskapet,
Röyhkä ja Rättö ja Lehtisalo,
Tropical Tobacco,
Sam Rivers,
Guru Guru,
The Leaves,
Duran Duran,
Depeche Mode,
Eyeless In Gaza,
Rapeman,
Crispian St. Peters,
The Golliwogs,
Roy Ayers,
Nick Fraelich,
Brothers Johnson,
MC5,
Gabor Szabo,
The Divine Comedy,
Eurythmics,
ABC,
Kango’s Stein Massive,
Big Daddy Kane,
Joe Smooth,
Jimmy McGriff,
Joey Negro,
The Doors, The Doors, The Doors, The Doors.
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.