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 Botswana and from Accra.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Calgary 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Public Enemy to the techno 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 Marcia Griffiths. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Cymande record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Bob Dylan,
The Busters,
Mars,
Harmonia,
Dawn Penn,
Bang On A Can,
Yusef Lateef,
Inner City,
Godley & Creme,
Deakin,
The Neon Judgement,
Nik Kershaw,
Althea and Donna,
Art Ensemble Of Chicago,
Anakelly,
The West Coast Pop Art Experimental Band,
Monks,
LL Cool J,
Henry Cow,
Vainqueur,
Johnny Clarke,
MC5,
Harpers Bizarre,
The Golliwogs,
Schoolly D,
the Sonics,
Peter Gordon & Love of Life Orchestra,
Malaria!,
The Music Machine,
Half Japanese,
Skriet,
The Fall,
Warsaw,
Von Mondo,
The Invisible,
Television Personalities,
Sandy B,
Ken Boothe,
Super Lover Cee & Casanova Rud,
Gabor Szabo,
Lou Reed & John Cale,
Sixth Finger,
Barclay James Harvest,
Electric Prunes,
Isaac Hayes,
Second Layer,
Stockholm Monsters,
Frankie Knuckles,
Thee Headcoats,
Fifty Foot Hose,
Electric Light Orchestra,
Duran Duran,
Sound Behaviour,
kango's stein massive,
Nick Fraelich,
Pole,
One Last Wish,
Quando Quango,
Public Enemy,
48th St. Collective,
Laurel Aitken,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.