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 France and from Toronto.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Yusef Lateef to the jazz kids.
I played it at Cafe Wha.
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 Aswad. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
R.M.O.,
Eurythmics,
John Foxx,
Theoretical Girls,
Eli Mardock,
The Sound,
The United States of America,
Bad Manners,
Marmalade,
Moby Grape,
Loose Ends,
Mars,
Heaven 17,
Ultravox,
Severed Heads,
Minny Pops,
Echospace,
Jimmy McGriff,
Crime,
Dave Gahan,
Country Joe & The Fish,
Marine Girls,
Sandy B,
Hasil Adkins,
Skarface,
Bluetip,
The Fall,
Aswad,
Roxette,
The Barracudas,
The Fugs,
DJ Style,
Super Lover Cee & Casanova Rud,
10cc,
Scratch Acid,
A Certain Ratio,
Stetsasonic,
Ronnie Foster,
Curtis Mayfield,
Funkadelic,
Wire,
Radiopuhelimet,
Mo-Dettes,
De La Soul & Jungle Brothers,
The Associates,
Peter Gordon & Love of Life Orchestra,
Panda Bear,
Joe Smooth,
David Bowie,
Harmonia,
Unrelated Segments,
Fat Boys,
Patti Smith,
Fort Wilson Riot,
The Skatalites,
AZ,
Al Stewart,
Eric Copeland,
The Red Krayola,
A Flock of Seagulls,
CMW,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.