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 Latvia and from Bologna.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Lille 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 guitar 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 Altered Images to the rock kids.
I played it at the Troubador.
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 John Holt. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal rap 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
The United States of America,
James White and The Blacks,
Mary Jane Girls,
Pantaleimon,
Sad Lovers and Giants,
Metal Thangz,
Aloha Tigers,
Average White Band,
Avey Tare's Slasher Flicks,
Ronnie Foster,
The Victims,
Colin Newman,
Scientists,
The Standells,
Blake Baxter,
Matthew Halsall,
The Music Machine,
Make Up,
The Mighty Diamonds,
X-102,
Thompson Twins,
The Black Dice,
Camouflage,
Black Moon,
The Leaves,
The Mojo Men,
David Axelrod,
Gang Gang Dance,
Malaria!,
Dr. Dre and Snoop Doggy Dog,
The Raincoats,
Rhythm & Sound,
Black Flag,
Black Sheep,
John Lydon,
Unwound,
The Seeds,
Aaron Thompson,
Alice Coltrane,
Suburban Knight,
Boz Scaggs,
The Selecter,
Swell Maps,
Gil Scott Heron,
New Order,
Fort Wilson Riot,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Liliput,
Fugazi,
Marcia Griffiths,
Ultimate Spinach,
Skarface,
Organ,
Freddie Wadling,
Justin Hinds & The Dominoes,
New York Dolls,
Bobby Sherman,
Anthony Braxton,
Derrick Morgan,
Sound Behaviour,
The Trojans,
Bootsy's Rubber Band,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.