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 Zambia and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Tehran.
I'm losing my edge to the art-school Copenhagen 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 808 sounds with much patience.
I was there when Holger Czukay 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 Q and Not U to the electroclash 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 Andrew Hill. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Little Man,
Liaisons Dangereuses,
Gong,
Tomorrow,
James White and The Blacks,
Porter Ricks,
Ten City,
Make Up,
Groovy Waters,
The Dave Clark Five,
Spandau Ballet,
Curtis Mayfield,
Sexual Harrassment,
Sandy B,
Danielle Patucci,
Mr. Review,
Intrusion,
Fluxion,
Brothers Johnson,
Monks,
Zapp,
Girls At Our Best!,
Faraquet,
One Last Wish,
Spoonie Gee,
Todd Terry,
The Last Poets,
Agent Orange,
Pharaoh Sanders and the Fire Engines,
Juan Atkins,
Stetsasonic,
Oblivians,
Avey Tare,
Chris Corsano,
The Seeds,
Althea and Donna,
The Selecter,
Stockholm Monsters,
Yaz,
Neu!,
Bronski Beat,
Schoolly D,
Amon Düül II,
Joyce Sims,
Fat Boys,
Kango’s Stein Massive,
Richard Hell and the Voidoids,
Byron Stingily,
Warsaw,
Marcia Griffiths,
The Red Krayola,
Jacques Brel,
Fela Kuti,
Sun Ra Arkestra,
Justin Hinds & The Dominoes,
Bootsy Collins,
The Victims,
the Soft Cell,
Drive Like Jehu,
Minutemen,
The Fall,
Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen, Echo & the Bunnymen.
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.