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 Uruguay and from Tehran.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Mission of Burma to the electroclash kids.
I played it at the Astoria.
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 Rhythim Is Rhythim. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every a-ha 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Happenings,
Eurythmics,
Little Man,
The Move,
Manfred Mann's Earth Band,
Be Bop Deluxe,
Frankie Knuckles,
Gil Scott-Heron and Jamie xx,
Notorious BIG live in Amsterdam,
Alice Coltrane,
Captain Beefheart & His Magic Band,
Radiohead,
La Düsseldorf,
E-Dancer,
Avey Tare & Kría Brekkan,
Derrick Morgan,
Dr. Dre and Snoop Doggy Dog,
Ronnie Foster,
The Kinks,
Richard Hell and the Voidoids,
Hot Snakes,
Angry Samoans,
Shuggie Otis,
Mars,
the Association,
Yaz,
K-Klass,
UT,
Au Pairs,
Ituana,
Depeche Mode,
Brick,
The Young Rascals,
The Motions,
Amazonics,
Jerry Gold Smith,
Colin Newman,
Reagan Youth,
Brand Nubian,
The Zeros,
Procol Harum,
Lonnie Liston Smith,
New Age Steppers,
Orchestral Manoeuvres in the Dark,
The Trojans,
Pharaoh Sanders and the Fire Engines,
The Doobie Brothers,
DJ Style,
Audionom,
Main Source,
Can,
Moebius,
The Buckinghams,
Pylon,
Rakim,
Masters at Work,
Jacques Brel,
Dead Boys,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.