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 Kenya and from London.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Delhi and Stockholm.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Depeche Mode to the grime kids.
I played it at Trash.
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 John Lydon. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Alison Limerick,
Johnny Osbourne,
The Martian,
The Fugs,
Mantronix,
Pet Shop Boys,
the Slits,
Super Lover Cee & Casanova Rud,
Tim Buckley,
James Chance & The Contortions,
EPMD,
Kango’s Stein Massive,
The Buckinghams,
The Raincoats,
Pete Rock & C.L. Smooth,
Dead Boys,
Pussy Galore,
Groovy Waters,
Nirvana,
Lower 48,
Zero Boys,
Leonard Cohen,
The Sisters of Mercy,
The Flesh Eaters,
Howard Jones,
Mary Jane Girls,
Rapeman,
De La Soul & Jungle Brothers,
Dawn Penn,
Ralphi Rosario,
Marmalade,
Absolute Body Control,
Mark Hollis,
Eddi Front,
Lalo Schifrin,
Interpol,
Quantec,
Gang Green,
Peter and Kerry,
Eric B and Rakim,
The Selecter,
Grauzone,
Aaron Thompson,
The Gun Club,
The Angels of Light,
Carl Craig,
Rotary Connection,
The Chocolate Watch Band,
Sonny Sharrock,
Soul II Soul,
Index,
Henry Cow,
Drexciya,
Glenn Branca,
Bad Manners,
Circle Jerks,
Blancmange,
The Mojo Men,
Anthony Braxton,
Simply Red,
New Order,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.