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 China and from Madrid.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Manchester and Edmonton.
I'm losing my edge to the art-school Shanghai 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Lightning Bolt to the rap kids.
I played it at the Roxy.
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 Modern Lovers. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal crunk 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Yaz,
Sly & The Family Stone,
Quantec,
Röyhkä ja Rättö ja Lehtisalo,
The Five Americans,
Fatback Band,
Spandau Ballet,
Matthew Bourne,
Chrome,
June of 44,
Terror Squad Feat. Camron,
The Angels of Light,
The Misunderstood,
Symarip,
Brothers Johnson,
Brass Construction,
Mary Jane Girls,
Toni Rubio,
Alison Limerick,
The Gladiators,
Siouxsie and the Banshees,
Icehouse,
Ronnie Foster,
Public Enemy,
Lee Hazlewood,
Cluster,
Siglo XX,
Aural Exciters,
Das Ding,
Cymande,
Aloha Tigers,
Bauhaus,
R.M.O.,
Warren Ellis,
Alice Coltrane,
Heavy D & The Boyz,
June Days,
Lizzy Mercier Descloux,
Pharoah Sanders,
X-Ray Spex,
Country Joe & The Fish,
Tomorrow,
Ronan,
Bobby Sherman,
Robert Wyatt,
Drive Like Jehu,
Gerry Rafferty,
Marmalade,
The American Breed,
The Seeds,
The Golliwogs,
Joensuu 1685,
Scion,
Average White Band,
Red Lorry Yellow Lorry,
Orchestral Manoeuvres in the Dark,
Scan 7,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.