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 Brunei and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Lagos 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 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 Negative Approach to the rap kids.
I played it at the Roxy.
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 Liaisons Dangereuses. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every MDC record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a PIL record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Siouxsie and the Banshees,
Simply Red,
cv313,
Smog,
Fort Wilson Riot,
Deepchord,
Junior Murvin,
Roy Ayers,
Country Joe & The Fish,
John Holt,
Rakim,
Symarip,
James White and The Blacks,
Fear,
Masters at Work,
Chris Corsano,
World's Most,
The Trojans,
Ornette Coleman,
Camberwell Now,
Judy Mowatt,
Magazine,
Accadde A,
Rapeman,
Maleditus Sound,
Albert Ayler,
EPMD,
Sparks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pete Rock & C.L. Smooth,
Porter Ricks,
Audionom,
Mad Mike,
The Star Department,
Marvin Gaye,
Unrelated Segments,
Isaac Hayes,
The Jesus and Mary Chain,
The Fire Engines,
Jesper Dahlback,
Oppenheimer Analysis,
Eli Mardock,
Model 500,
Television Personalities,
Lafayette Afro Rock Band,
K-Klass,
Agent Orange,
The Move,
Max Romeo,
Gong,
Avey Tare's Slasher Flicks,
Oneida,
Quadrant,
Cecil Taylor,
Roxy Music,
Roxette,
Nico,
Moebius,
Second Layer,
Duran Duran,
Man Eating Sloth,
Angels of Light & Akron/Family,
The Moody Blues,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.