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 Russia and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1972.
I'm losing my edge.
To all the kids in Portland and Mumbai.
I'm losing my edge to the art-school Madrid 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Man Parrish to the grime 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 David McCallum. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
The Associates,
Rotary Connection,
John Cale,
The Offenders,
Masters at Work,
DJ Style,
The Neon Judgement,
Jeff Mills,
The Count Five,
Visionaries,LMNO, T- Love & Iriscience,
Motorama,
Schoolly D,
Faust,
Sun Ra Arkestra,
Mark Hollis,
Lightning Bolt,
Absolute Body Control,
Spandau Ballet,
Reagan Youth,
Jeff Lynne,
Angry Samoans,
Lalo Schifrin,
Art Ensemble Of Chicago,
The Mighty Diamonds,
Wasted Youth,
Roxy Music,
Rufus Thomas,
Public Image Ltd.,
Scan 7,
Al Stewart,
Index,
Amon Düül II,
Tears for Fears,
Brothers Johnson,
Boogie Down Productions,
Gil Scott Heron,
June of 44,
Flipper,
Kenny Larkin,
Crime,
Magazine,
Chris & Cosey,
Manfred Mann's Earth Band,
The Sound,
Liliput,
Young Marble Giants,
Sad Lovers and Giants,
Jacques Brel,
Gian Franco Pienzio,
The Star Department,
The Human League,
the Sonics,
Vladislav Delay,
Scientists,
Big Daddy Kane,
Dark Day,
Basic Channel,
Warren Ellis,
The Cramps,
Unrelated Segments,
Idris Muhammad,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.