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 San Marino and from Manchester.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school London 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the organ 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 Spoonie Gee to the grunge 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 Sad Lovers and Giants. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every New York Dolls 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Y Pants record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Modern Lovers,
Notorious BIG live in Amsterdam,
Robert Görl,
Agitation Free,
The Sound,
The Birthday Party,
The Durutti Column,
The Buckinghams,
Neu!,
Steve Hackett,
Moebius,
Depeche Mode,
The Remains,
Soft Machine,
Newcleus,
R.M.O.,
Sun Ra Arkestra,
Vladislav Delay,
Chris & Cosey,
Bang on a Can All-Stars,
Godley & Creme,
Quantec,
Interpol,
Ossler,
the Normal,
Justin Hinds & The Dominoes,
Masters at Work,
Red Lorry Yellow Lorry,
Alison Limerick,
Pantaleimon,
Groovy Waters,
Eric Copeland,
Fugazi,
The Pretty Things,
Minnie Riperton,
Pussy Galore,
Sonny Sharrock,
Lou Reed & Metallica,
The Zeros,
Gary Puckett & The Union Gap,
The Sonics,
Saccharine Trust,
The Litter,
The Grass Roots,
Matthew Bourne,
Minor Threat,
The Angels of Light,
Glambeats Corp.,
The Misunderstood,
Michelle Simonal,
Harpers Bizarre,
Crispian St. Peters,
Cecil Taylor,
Jesper Dahlbäck,
Sällskapet,
Scan 7,
Outsiders,
The Residents,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.