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 Honduras and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1966 to 1973.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Houston 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 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 Rhythm & Sound to the jazz 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 Rhythim Is Rhythim. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Lungfish record on German import.
I heard that you have a white label of every seminal techno 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 a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your organ and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
The Index,
Howard Jones,
Idris Muhammad,
Mark Hollis,
Rod Modell,
Peter & Gordon,
Henry Cow,
Heavy D & The Boyz,
The Sisters of Mercy,
The Techniques,
Rakim,
DJ Sneak,
Reuben Wilson,
X-101,
Yaz,
Big Daddy Kane,
Joensuu 1685,
Crash Course in Science,
Dave Gahan,
Boogie Down Productions,
Gerry Rafferty,
The Names,
Youth Brigade,
The Barracudas,
The Sonics,
Oppenheimer Analysis,
Bad Manners,
Section 25,
Vaughan Mason & Crew,
The Dead C,
The Red Krayola,
T. Rex,
Bobby Womack,
Sällskapet,
Theoretical Girls,
Donald Byrd,
The Gladiators,
Rahsaan Roland Kirk,
The Neon Judgement,
Anthony Braxton,
Roy Ayers Ubiquity,
Lonnie Liston Smith,
The Velvet Underground,
Larry & the Blue Notes,
Agent Orange,
The Selecter,
Marmalade,
Half Japanese,
Lalann,
Fat Boys,
F. McDonald,
Sandy B,
The Doobie Brothers,
Aswad,
Be Bop Deluxe,
The United States of America,
Interpol,
cv313,
The Happenings,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.