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 Marshall Islands and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school Lyon 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 snare 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 Delon & Dalcan to the dance 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 OOIOO. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Fear,
Jacques Brel,
Delon & Dalcan,
Brothers Johnson,
Byron Stingily,
John Holt,
Sly & The Family Stone,
Heavy D & The Boyz,
Pharaoh Sanders and the Fire Engines,
Marc Romboy vs. Booka Shade,
Alphaville,
Pierre Henry,
The Buckinghams,
Ice-T,
Jerry Gold Smith,
Andrew Hill,
T.S.O.L.,
Black Flag,
Bronski Beat,
Young Marble Giants,
Gang of Four,
Visionaries,LMNO, T- Love & Iriscience,
Talk Talk,
Ronnie Foster,
Circle Jerks,
Hardrive,
Gichy Dan,
Soft Cell,
Nico,
The Mojo Men,
Kas Product,
June Days,
Red Lorry Yellow Lorry,
Piero Umiliani,
In Retrospect,
Banda Bassotti,
John Cale,
Skaos,
Ultramagnetic MC's,
Jerry's Kids,
A Certain Ratio,
The Kinks,
Scratch Acid,
Rowland S Howard / Lydia Lunch,
Public Image Ltd.,
the Association,
Super Lover Cee & Casanova Rud,
Pharoah Sanders,
China Crisis,
Thee Headcoats,
Joey Negro,
Scott Walker + Sunn O))),
The Durutti Column,
Fela Kuti,
Dave Gahan,
Max Romeo,
the Soft Cell,
Gil Scott-Heron & Brian Jackson,
Ultra Naté,
Second Layer,
Outsiders,
Chrome,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.