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 Libya and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Johannesburg 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 rhodes 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 Interpol to the grime kids.
I played it at the Spitz.
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 Ituana. All the underground hits.
All Crispian St. Peters tracks. I heard you have a vinyl of every Gabor Szabo 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
8 Eyed Spy,
Spoonie Gee,
The Cramps,
Icehouse,
Radiohead,
Harry Pussy,
Man Parrish,
Hashim,
Masters at Work,
Pantytec,
Darondo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Slave,
June of 44,
The Stooges,
The Electric Prunes,
Man Eating Sloth,
Scan 7,
Black Bananas,
Deadbeat,
Soul II Soul,
Aswad,
Angry Samoans,
The Fire Engines,
The Birthday Party,
The Victims,
Ash Ra Tempel,
Crispian St. Peters,
Hot Snakes,
Siouxsie and the Banshees,
Cameo,
Grauzone,
Pete Rock & C.L. Smooth,
Roger Hodgson,
Michelle Simonal,
the Slits,
The Saints,
Outsiders,
Derrick May,
Sunsets and Hearts,
The Trojans,
Ultramagnetic MC's,
Animal Collective,
Radio Birdman,
Jeff Mills,
Bluetip,
Eve St. Jones,
Andrew Ashong & Theo Parrish,
Carl Craig,
Television Personalities,
The Monks,
Roxette,
Barry Ungar,
T.S.O.L.,
Ponytail,
Brand Nubian,
Pylon,
The Fall,
Gil Scott-Heron and Jamie xx,
Excepter,
Eyeless In Gaza,
Dave Gahan,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.