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 Comoros 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 1967 to 1973.
I'm losing my edge.
To all the kids in New York and Johannesburg.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Supertramp to the rock kids.
I played it at CBGB's.
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 Unwound. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
John Cale,
Moss Icon,
Ultravox,
Jeru the Damaja,
Monks,
Susan Cadogan,
Roy Ayers Ubiquity,
Althea and Donna,
Manfred Mann's Earth Band,
Lee Hazlewood,
Outsiders,
Idris Muhammad,
Rhythim Is Rhythim,
Kaleidoscope,
Kool G Rap & DJ Polo,
Alice Coltrane,
Oppenheimer Analysis,
The Detroit Cobras,
Sun Ra,
New Age Steppers,
Ornette Coleman,
James Chance & The Contortions,
Kango’s Stein Massive,
Sam Rivers,
Suburban Knight,
Howard Jones,
Liaisons Dangereuses,
Visage,
Procol Harum,
Terrestrial Tones,
The Royal Family And The Poor,
The Men They Couldn't Hang,
the Fania All-Stars,
Glambeats Corp.,
Pulsallama,
Nas,
Scion,
Absolute Body Control,
Notorious Big And Bone Thugs,
The Wake,
The Moleskins,
Wighnomy Brothers & Robag Wruhme,
Funkadelic,
Al Stewart,
Adolescents,
Lightning Bolt,
The Count Five,
Mary Jane Girls,
Ice-T,
The Slits,
Flash Fearless,
Alphaville,
Anthony Braxton,
Brothers Johnson,
Depeche Mode,
Soft Cell,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.