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 Yemen and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide 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 1974.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Toronto 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 sitar 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 Gang Gang Dance to the techno 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 Jeff Lynne. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Mo-Dettes 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 '90s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
The Associates,
Audionom,
The Detroit Cobras,
John Lydon,
Erasure,
Donald Byrd,
Ash Ra Tempel,
The Skatalites,
Funky Four + One,
Pylon,
Kerri Chandler,
The Busters,
D'Angelo,
the Human League,
Organ,
Country Joe & The Fish,
Fluxion,
The Birthday Party,
The Five Americans,
Sight & Sound,
Underground Resistance,
The Durutti Column,
The Invisible,
Saccharine Trust,
Negative Approach,
Jesper Dahlback,
Moebius,
Bobby Sherman,
Deakin,
The American Breed,
Spandau Ballet,
Joensuu 1685,
The Knickerbockers,
Rufus Thomas,
Soft Machine,
The Offenders,
X-101,
Nirvana,
Chrome,
Curtis Mayfield,
Buzzcocks,
Derrick May,
Young Marble Giants,
Captain Beefheart & His Magic Band,
The Moody Blues,
Subhumans,
New Order,
Thompson Twins,
Average White Band,
Visionaries,LMNO, T- Love & Iriscience,
Deepchord,
Black Bananas,
Porter Ricks,
Henry Cow,
Kevin Saunderson,
Rapeman,
Connie Case,
Orchestral Manoeuvres in the Dark,
Gil Scott Heron,
Babytalk, Babytalk, Babytalk, Babytalk.
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.