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 South Africa and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Seoul and Lille.
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 linndrum 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 Pantaleimon to the rap 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 Liliput. All the underground hits.
All Magma tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Slick Rick record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Skriet,
Urselle,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Divine Comedy,
Radiopuhelimet,
New York Dolls,
Sun Ra Arkestra,
ABC,
Moby Grape,
The Toasters,
Buzzcocks,
Cybotron,
Monolake,
Joe Smooth,
Henry Cow,
Gil Scott-Heron & Brian Jackson,
MDC,
Joensuu 1685,
Pantytec,
Slave,
Blancmange,
Prince Buster,
Mark Hollis,
Quando Quango,
Sonic Youth,
Ultra Naté,
Basic Channel,
Neil Young & Crazy Horse,
Ronnie Foster,
Spoonie Gee,
Delon & Dalcan,
World's Most,
Sad Lovers and Giants,
Pharoah Sanders,
Junior Murvin,
kango's stein massive,
New Order,
Donny Hathaway,
Malaria!,
DNA,
FM Einheit,
Con Funk Shun,
The Busters,
Girls At Our Best!,
The Moody Blues,
Maleditus Sound,
Negative Approach,
Roxy Music,
Kool G Rap & DJ Polo,
ABBA,
Pet Shop Boys,
Sly & The Family Stone,
Main Source,
Soul II Soul,
Peter and Kerry,
Los Fastidios,
Electric Light Orchestra,
Mandrill,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.