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 Syria and from Beijing.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Paris 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Mojo Men to the funk 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 DNA. All the underground hits.
All Sex Pistols tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dennis Brown,
Soft Machine,
Ten City,
Aswad,
Bobby Hutcherson,
Popol Vuh,
Yazoo,
Blancmange,
Rites of Spring,
Sixth Finger,
Technova,
New Order,
Girls At Our Best!,
Moebius,
Jacob Miller,
Roxy Music,
B.T. Express,
Echospace,
Supertramp,
Jerry Gold Smith,
One Last Wish,
the Slits,
Siouxsie and the Banshees,
Unwound,
Echo & the Bunnymen,
Silicon Teens,
Wally Richardson,
Joy Division,
Tubeway Army,
Stetsasonic,
Nirvana,
U.S. Maple,
Talk Talk,
X-101,
The Cure,
Au Pairs,
Avey Tare & Kría Brekkan,
Scion,
The Music Machine,
Barrington Levy,
Crime,
Arthur Verocai,
Graham Central Station,
Be Bop Deluxe,
Idris Muhammad,
Icehouse,
Television Personalities,
Gil Scott-Heron and Jamie xx,
Q65,
Lee Hazlewood,
The Selecter,
La Düsseldorf,
Nick Fraelich,
Archie Shepp,
The Chocolate Watch Band,
The Trojans,
Tommy Roe,
ABC,
Gichy Dan,
The Doors,
Kango’s Stein Massive,
Sound Behaviour,
Mad Mike,
Letta Mbulu,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.