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 Tunisia and from Houston.
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 1976.
I'm losing my edge.
To all the kids in Spokane and Woodstock.
I'm losing my edge to the art-school Accra 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Camberwell Now to the punk kids.
I played it at the Crocodile.
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 Rites of Spring. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Minutemen,
Pantaleimon,
Pagans,
Nils Olav,
the Slits,
The Smiths,
Orchestral Manoeuvres in the Dark,
The Stooges,
the Normal,
Duran Duran,
Gary Puckett & The Union Gap,
These Immortal Souls,
Newcleus,
Gabor Szabo,
The Techniques,
Faust,
Cabaret Voltaire,
The Standells,
Buzzcocks,
Bill Wells,
Angels of Light & Akron/Family,
Todd Rundgren,
The Golliwogs,
The Names,
Dorothy Ashby,
E-Dancer,
Adolescents,
Flash Fearless,
Icehouse,
Morten Harket,
Piero Umiliani,
Gang Starr,
Bang On A Can,
Chris & Cosey,
Yaz,
Johnny Clarke,
UT,
Radiohead,
Barry Ungar,
Cal Tjader,
Warsaw,
Saccharine Trust,
The Red Krayola,
Franke,
Lee Hazlewood,
Anakelly,
Yellowson,
Vaughan Mason & Crew,
The Kinks,
Sarah Menescal,
Ossler,
Reuben Wilson,
Cybotron,
The Buckinghams,
Bobbi Humphrey,
Glambeats Corp.,
The Knickerbockers,
Sexual Harrassment,
Section 25,
Ituana,
The Evens,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.