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 Maldives and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1975.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school London 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 Thompson Twins to the grunge kids.
I played it at the Roxy.
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 The Offenders. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Marshall Jefferson,
The Real Kids,
ABC,
Matthew Bourne,
Jandek,
Public Image Ltd.,
Jerry Gold Smith,
Visage,
The Slits,
Spandau Ballet,
World's Most,
Robert Görl,
Hoover,
Blossom Toes,
Ralphi Rosario,
Electric Prunes,
The American Breed,
Flamin' Groovies,
Nirvana,
Public Enemy,
Sällskapet,
the Sonics,
Roger Hodgson,
Stockholm Monsters,
Jawbox,
Freddie Wadling,
the Human League,
Newcleus,
Joy Division,
Warsaw,
Organ,
Yellowson,
Roy Ayers Ubiquity,
The Fuzztones,
Masters at Work,
the Slits,
Malaria!,
Wire,
DeepChord presents Echospace,
Pierre Henry,
The Five Americans,
The Mighty Diamonds,
8 Eyed Spy,
The Seeds,
Pharoah Sanders,
Mo-Dettes,
Brothers Johnson,
Peter Gordon & Love of Life Orchestra,
Chris & Cosey,
The Last Poets,
Danielle Patucci,
48th St. Collective,
Average White Band,
Camouflage,
Hot Snakes,
Second Layer,
Neu!,
Mad Mike,
Cheater Slicks,
Mr. Review,
One Last Wish,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.