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 Slovakia and from Johannesburg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin 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 Michelle Simonal 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 Popol Vuh. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Matthew Bourne 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
The Fuzztones,
Black Pus,
the Swans,
Q and Not U,
Gil Scott-Heron & Brian Jackson,
Cheater Slicks,
Lou Reed,
Sound Behaviour,
Sly & The Family Stone,
Altered Images,
De La Soul & Jungle Brothers,
Visionaries,LMNO, T- Love & Iriscience,
Easy Going,
Jacques Brel,
Ronan,
Newcleus,
Jesper Dahlbäck,
The Busters,
Mission of Burma,
Magazine,
The Pop Group,
Procol Harum,
Howard Jones,
Hot Snakes,
Boogie Down Productions,
The Misunderstood,
John Holt,
Negative Approach,
Spoonie Gee,
The Mighty Diamonds,
The Flesh Eaters,
The Skatalites,
Vainqueur,
The Techniques,
The Music Machine,
The Angels of Light,
Johnny Osbourne,
Oneida,
L. Decosne,
Crash Course in Science,
DNA,
Eve St. Jones,
Alton Ellis,
Erasure,
Lizzy Mercier Descloux,
Fad Gadget,
The J.B.'s,
Sun Ra Arkestra,
Supertramp,
The Doors,
K-Klass,
Sonic Youth,
New York Dolls,
Zero Boys,
Interpol,
Con Funk Shun,
Wire,
Barbara Tucker,
Minny Pops,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.