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 Japan and from Bologna.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Lyon 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Marmalade to the rap kids.
I played it at the Troubador.
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 Soul II Soul. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every The Fire Engines 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 '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Minutemen,
Howard Jones,
The Mighty Diamonds,
Boz Scaggs,
Popol Vuh,
The Star Department,
FM Einheit,
Richard Hell and the Voidoids,
Bang on a Can All-Stars,
Kurtis Blow,
The Selecter,
Circle Jerks,
The Blackbyrds,
Suicide,
The Real Kids,
Franke,
Delta 5,
Lebanon Hanover,
The Young Rascals,
One Last Wish,
Brass Construction,
Talk Talk,
Ken Boothe,
Moby Grape,
Kas Product,
CMW,
Bobbi Humphrey,
Cabaret Voltaire,
Rakim,
James Chance & The Contortions,
The Seeds,
Don Cherry,
In Retrospect,
the Swans,
Johnny Osbourne,
Groovy Waters,
Rapeman,
Sugar Minott,
Echo & the Bunnymen,
Fluxion,
Selector Dub Narcotic,
Liliput,
These Immortal Souls,
Siouxsie and the Banshees,
Das Ding,
Negative Approach,
The Cosmic Jokers,
Peter Gordon & Love of Life Orchestra,
Red Lorry Yellow Lorry,
Pylon,
Von Mondo,
Brothers Johnson,
Kenny Larkin,
Alton Ellis,
Funky Four + One,
Schoolly D,
The Mummies,
Joensuu 1685,
Excepter,
A Flock of Seagulls,
Urselle, Urselle, Urselle, Urselle.
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.