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 Nigeria and from Sao Paulo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
I'm losing my edge to the art-school Seoul 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 chamberlin 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 One Last Wish to the grunge 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 Moss Icon. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Nirvana record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
R.M.O.,
Susan Cadogan,
Jandek,
Judy Mowatt,
The Stooges,
John Coltrane,
Television,
Michelle Simonal,
Swans,
Bobby Byrd,
Junior Murvin,
Frankie Knuckles,
Jawbox,
The Vogues,
De La Soul & Jungle Brothers,
Arab on Radar,
Sugar Minott,
Sparks,
The Young Rascals,
Lebanon Hanover,
Eurythmics,
Orchestral Manoeuvres in the Dark,
Heavy D & The Boyz,
Gil Scott-Heron and Jamie xx,
Jacques Brel,
Kurtis Blow,
Bootsy Collins,
Pet Shop Boys,
Louis and Bebe Barron,
Bluetip,
Model 500,
X-101,
Henry Cow,
The Litter,
Rhythm & Sound,
Fluxion,
Alphaville,
The Real Kids,
Thee Headcoats,
The Sound,
Wings,
Visionaries,LMNO, T- Love & Iriscience,
The Misunderstood,
Robert Wyatt,
The Offenders,
Dave Gahan,
Basic Channel,
Quantec,
The Invisible,
Barbara Tucker,
Saccharine Trust,
Rhythim Is Rhythim,
Depeche Mode,
Ituana,
The Busters,
Faust,
Big Daddy Kane,
The Selecter,
The Dirtbombs,
Bizarre Inc.,
Monolake, Monolake, Monolake, Monolake.
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.