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 Senegal and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1970.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Columbus 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 snare 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 Eve St. Jones to the rock kids.
I played it at Cafe Wha.
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 Sight & Sound. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every Tommy Roe record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Nas,
Barclay James Harvest,
Sandy B,
Echospace,
Hasil Adkins,
The Pretty Things,
Bobby Sherman,
Livin' Joy,
Johnny Osbourne,
Henry Cow,
Con Funk Shun,
Pussy Galore,
Kayak,
Scientists,
The Raincoats,
The Real Kids,
The Buckinghams,
The Monochrome Set,
T.S.O.L.,
Black Pus,
Niagra,
Public Image Ltd.,
Maleditus Sound,
Ten City,
a-ha,
A Certain Ratio,
Fluxion,
Sex Pistols,
Minnie Riperton,
Oneida,
Sunsets and Hearts,
the Human League,
T. Rex,
Ken Boothe,
Average White Band,
Oppenheimer Analysis,
The Alarm Clocks,
Ultravox,
MC5,
Jawbox,
The Sonics,
Davy DMX,
The Wake,
Young Marble Giants,
Terrestrial Tones,
Organ,
The Five Americans,
Althea and Donna,
Rahsaan Roland Kirk,
Nick Cave & The Bad Seeds,
Yellowson,
The Searchers,
James Chance & The Contortions,
Half Japanese,
Wally Richardson,
Morten Harket,
Angry Samoans,
Mary Jane Girls,
Zero Boys,
Faraquet,
Pharaoh Sanders and the Fire Engines,
K-Klass,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.