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 Belgium and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Toronto and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 sitar 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 Marc Almond to the disco kids.
I played it at CBGB's.
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 Niagra. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Move 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?
Sad Lovers and Giants,
Nas,
Tears for Fears,
Gary Puckett & The Union Gap,
Nils Olav,
John Coltrane,
Susan Cadogan,
Khruangbin,
The Detroit Cobras,
Sonic Youth,
Fugazi,
Gregory Isaacs,
Minnie Riperton,
Larry & the Blue Notes,
Saccharine Trust,
Johnny Osbourne,
Essential Logic,
the Association,
Boz Scaggs,
Dead Boys,
Ice-T,
Bang On A Can,
Das Ding,
Alphaville,
Hardrive,
Soul II Soul,
X-101,
Crispian St. Peters,
Carl Craig,
The Gories,
Section 25,
Mad Mike,
Jacob Miller,
The Evens,
Babytalk,
Anakelly,
Steve Hackett,
Crispy Ambulance,
Franke,
Fear,
World's Most,
Joy Division,
Eric B and Rakim,
Rekid,
Pete Rock & C.L. Smooth,
Ultimate Spinach,
The Mojo Men,
Matthew Bourne,
Livin' Joy,
L. Decosne,
Jerry's Kids,
Little Man,
Glambeats Corp.,
Liliput,
Juan Atkins,
The Fortunes,
Sight & Sound,
Tommy Roe,
Traffic Nightmare,
Robert Görl,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.