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 Ghana and from Cairo.
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 1969 to 1977.
I'm losing my edge.
To all the kids in London and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Alton Ellis to the punk kids.
I played it at the Crocodile.
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 Dark Day. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Rakim 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
The Happenings,
Delta 5,
The Mighty Diamonds,
Sonny Sharrock,
Von Mondo,
Barbara Tucker,
Pulsallama,
The Mojo Men,
The United States of America,
ABC,
The Offenders,
Deakin,
Bush Tetras,
Youth Brigade,
Shoche,
John Holt,
E-Dancer,
Bad Manners,
Faust,
Roxy Music,
Terrestrial Tones,
Surgeon,
The Zeros,
Stereo Dub,
Chris & Cosey,
The Slits,
Skriet,
Japan,
Eve St. Jones,
Scion,
Robert Wyatt,
Pharoah Sanders,
The Mummies,
Black Bananas,
The Count Five,
Bobby Hutcherson,
Soul Sonic Force,
Scrapy,
The Dirtbombs,
Sparks,
PIL,
Pussy Galore,
Dawn Penn,
Marshall Jefferson,
Duran Duran,
Pantytec,
Rapeman,
Avey Tare,
Lalo Schifrin,
Anthony Braxton,
the Human League,
The Remains,
The Moody Blues,
Silicon Teens,
Aaron Thompson,
Byron Stingily,
Rekid,
Lalann,
EPMD,
Orchestral Manoeuvres in the Dark,
Alphaville,
In Retrospect,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.