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 Norway and from Johannesburg.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Stockholm 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 organ sounds with much patience.
I was there when Robert Palmer 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 Public Enemy to the disco kids.
I played it at the 40 Watt.
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 Flash Fearless. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Terror Squad Feat. Camron,
Captain Beefheart & His Magic Band,
Mark Hollis,
Loose Ends,
Q and Not U,
Peter & Gordon,
The Wake,
Louis and Bebe Barron,
Public Image Ltd.,
Arab on Radar,
Aural Exciters,
DJ Style,
Yusef Lateef,
Gang Gang Dance,
Bizarre Inc.,
A Flock of Seagulls,
Bobby Sherman,
DeepChord presents Echospace,
Shoche,
Skaos,
The Sonics,
Dorothy Ashby,
Lightning Bolt,
Swell Maps,
Barclay James Harvest,
The Fall,
Tom Boy,
Erasure,
Crispy Ambulance,
The Human League,
Marvin Gaye,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Slick Rick,
Absolute Body Control,
The Flesh Eaters,
Hoover,
Ultravox,
Be Bop Deluxe,
The Cramps,
Man Eating Sloth,
Ossler,
Ice-T,
Suicide,
Lizzy Mercier Descloux,
Susan Cadogan,
Rotary Connection,
Section 25,
Make Up,
Manfred Mann's Earth Band,
The Young Rascals,
Peter Gordon & Love of Life Orchestra,
Connie Case,
Brothers Johnson,
10cc,
Joy Division,
The Real Kids,
F. McDonald,
MDC,
The Blackbyrds,
R.M.O.,
The Blues Magoos,
The Star Department,
The Grass Roots,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.