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 Algeria and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1967 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Seoul 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 guitar 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 Sonny Sharrock to the rock kids.
I played it at Trash.
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 The Velvet Underground. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sonny Sharrock,
The Residents,
Eurythmics,
The Cosmic Jokers,
Curtis Mayfield,
Chris & Cosey,
the Normal,
Country Teasers,
Grauzone,
Roxette,
The Saints,
The Leaves,
Anthony Braxton,
Slave,
Michelle Simonal,
The Human League,
The West Coast Pop Art Experimental Band,
K-Klass,
The Smiths,
Skarface,
Teenage Jesus and the Jerks,
Underground Resistance,
Donny Hathaway,
Rekid,
Terry Callier,
The Seeds,
Visage,
Schoolly D,
Lyres,
Heaven 17,
Idris Muhammad,
The Music Machine,
Vladislav Delay,
Dave Gahan,
Bang On A Can,
Rakim,
Depeche Mode,
The Real Kids,
Soft Machine,
EPMD,
Man Parrish,
Aloha Tigers,
Desert Stars,
CMW,
Ten City,
Jeru the Damaja,
Accadde A,
Slick Rick,
Bobby Byrd,
the Association,
Barrington Levy,
The Zeros,
Unrelated Segments,
Matthew Halsall,
Can,
Rod Modell,
Guru Guru,
Visionaries,LMNO, T- Love & Iriscience,
Nick Cave & The Bad Seeds,
The Mummies,
Joensuu 1685,
Sixth Finger,
Pylon, Pylon, Pylon, Pylon.
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.