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 Trinidad & Tobago and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1973.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 organ 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 The Victims to the techno kids.
I played it at the Astoria.
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 Ornette Coleman. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Sister Nancy 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 '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
E-Dancer,
Harpers Bizarre,
Jeru the Damaja,
Absolute Body Control,
The Grass Roots,
Aaron Thompson,
Ten City,
Jeff Mills,
Matthew Bourne,
Heavy D & The Boyz,
Erasure,
Adolescents,
Gichy Dan,
Nation of Ulysses,
Louis and Bebe Barron,
A Certain Ratio,
MDC,
Camouflage,
Laurel Aitken,
Depeche Mode,
The Motions,
AZ,
Shoche,
Monks,
Gil Scott-Heron and Jamie xx,
Oppenheimer Analysis,
Alison Limerick,
Fear,
Loose Ends,
Pharoah Sanders,
Judy Mowatt,
Gang Green,
Pussy Galore,
Lebanon Hanover,
Amon Düül,
Davy DMX,
The Fugs,
The Busters,
David Bowie,
Lou Christie,
The Five Americans,
Letta Mbulu,
R.M.O.,
Max Romeo,
Faust,
Ronnie Foster,
Parry Music,
Marmalade,
48th St. Collective,
Anakelly,
Andrew Hill,
The Count Five,
The Sonics,
Flipper,
kango's stein massive,
N.O.R.E. Featuring Pharrell,
The Dave Clark Five,
Marc Romboy vs. Booka Shade,
Essential Logic,
Röyhkä ja Rättö ja Lehtisalo,
Joy Division,
Colin Newman,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.