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 Malaysia and from Copenhagen.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Columbus.
I'm losing my edge to the art-school Manila 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ 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 Pulsallama 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 Pantytec. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Agitation Free,
48th St. Collective,
Bill Wells,
The Remains,
Derrick May,
Monks,
Susan Cadogan,
Symarip,
Swell Maps,
Brass Construction,
De La Soul & Jungle Brothers,
The Selecter,
Dawn Penn,
Visionaries,LMNO, T- Love & Iriscience,
Rekid,
Dead Boys,
Unwound,
Make Up,
Jimmy McGriff,
Simply Red,
Pantytec,
Ultravox,
Be Bop Deluxe,
U.S. Maple,
Kings Of Tomorrow,
the Soft Cell,
Parry Music,
Los Fastidios,
Mary Jane Girls,
The Divine Comedy,
Arab on Radar,
Skriet,
Boredoms,
Ultramagnetic MC's,
Alton Ellis,
Saccharine Trust,
Gabor Szabo,
Todd Terry,
Al Stewart,
Cymande,
Girls At Our Best!,
Dennis Brown,
The Victims,
Buzzcocks,
K-Klass,
Harpers Bizarre,
Lightning Bolt,
Traffic Nightmare,
Idris Muhammad,
Cecil Taylor,
The Litter,
Heaven 17,
Con Funk Shun,
Kango’s Stein Massive,
Panda Bear,
Sam Rivers,
Tres Demented,
Section 25,
Sun Ra Arkestra,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.