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 Algeria 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 1960 to 1971.
I'm losing my edge.
To all the kids in New York and Lyon.
I'm losing my edge to the art-school Philadelphia 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Bobby Hutcherson to the funk kids.
I played it at Trash.
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 Major Organ And The Adding Machine. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every The Young Rascals 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
The Sisters of Mercy,
Janne Schatter,
Quando Quango,
Lindisfarne,
Stockholm Monsters,
Gang Gang Dance,
The Blues Magoos,
Black Sheep,
ABBA,
Monks,
Selector Dub Narcotic,
Drexciya,
Radiopuhelimet,
The Martian,
Gian Franco Pienzio,
U.S. Maple,
The Divine Comedy,
Smog,
Rod Modell,
Negative Approach,
LL Cool J,
Isaac Hayes,
Johnny Osbourne,
Ronnie Foster,
David McCallum,
Brand Nubian,
The Jesus and Mary Chain,
Kango’s Stein Massive,
Popol Vuh,
Cecil Taylor,
Todd Terry,
Pere Ubu,
Rhythm & Sound,
Matthew Halsall,
Ultramagnetic MC's,
Lou Reed & John Cale,
Brothers Johnson,
Pharaoh Sanders and the Fire Engines,
The West Coast Pop Art Experimental Band,
Harmonia,
The Moody Blues,
Davy DMX,
Vainqueur,
The Monochrome Set,
Sun Ra Arkestra,
Ponytail,
Marshall Jefferson,
The Cowsills,
Kas Product,
Lebanon Hanover,
Stereo Dub,
Y Pants,
The Count Five,
Dual Sessions,
Black Moon,
The Slackers,
Tubeway Army,
The United States of America,
cv313,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.