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 Paraguay and from Shanghai.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Spokane and Glasgow.
I'm losing my edge to the art-school Philadelphia 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 theremin 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 Royal Trux to the techno kids.
I played it at the Spitz.
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 The Tremeloes. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal punk 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Donald Byrd,
Aaron Thompson,
Roxy Music,
Skriet,
Ken Boothe,
Teenage Jesus and the Jerks,
Depeche Mode,
The Trojans,
The Jesus and Mary Chain,
Grauzone,
Nico,
Television Personalities,
The Moleskins,
Gary Puckett & The Union Gap,
David Bowie,
Jesper Dahlbäck,
Roy Ayers Ubiquity,
Swell Maps,
The Shadows of Knight,
Crispian St. Peters,
Tommy Roe,
Dr. Dre and Snoop Doggy Dog,
The Happenings,
T. Rex,
Amon Düül II,
The Toasters,
Crime,
Drexciya,
Quadrant,
Fluxion,
Eric Dolphy,
Matthew Bourne,
Henry Cow,
Marvin Gaye,
Rufus Thomas,
Motorama,
Ronnie Foster,
Bronski Beat,
Scott Walker,
8 Eyed Spy,
The Beau Brummels,
Intrusion,
A Flock of Seagulls,
The Mighty Diamonds,
Robert Hood,
PIL,
Can,
Rhythm & Sound,
The Dave Clark Five,
Cabaret Voltaire,
the Soft Cell,
Amazonics,
World's Most,
Circle Jerks,
Kurtis Blow,
Sugar Minott,
The Associates,
the Sonics,
Trumans Water,
Rapeman,
Aswad,
Gil Scott Heron,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.