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 Morocco and from Bremen.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Houston 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 The Wake to the dance 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 Crispian St. Peters. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Brick 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Agitation Free,
Siouxsie and the Banshees,
Donald Byrd,
Chris & Cosey,
The Moleskins,
Pole,
Gerry Rafferty,
Liaisons Dangereuses,
Darondo,
Thompson Twins,
Archie Shepp,
Model 500,
Agent Orange,
Marine Girls,
Metal Thangz,
Reagan Youth,
Moby Grape,
Yaz,
E-Dancer,
Black Flag,
Aswad,
Ludus,
Section 25,
The Pretty Things,
Andrew Ashong & Theo Parrish,
Toni Rubio,
Motorama,
Cluster,
Visage,
Deutsch Amerikanische Freundschaft,
Technova,
A Certain Ratio,
Röyhkä ja Rättö ja Lehtisalo,
Blossom Toes,
The Smoke,
Television Personalities,
Gil Scott-Heron & Brian Jackson,
The Fortunes,
The Litter,
The Doors,
Jeru the Damaja,
Alton Ellis,
Country Joe & The Fish,
The Move,
Newcleus,
The Fall,
Echo & the Bunnymen,
Goldenarms,
Siglo XX,
Maleditus Sound,
Ajijia Myrayebe,
The J.B.'s,
The Mojo Men,
The Gap Band,
The Durutti Column,
Alison Limerick,
John Lydon,
Swans,
Nas,
Super Lover Cee & Casanova Rud,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.