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 Nepal and from Milan.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1979.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Madrid 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 synthesizer 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 Alton Ellis to the dance kids.
I played it at the Hacienda.
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 Maleditus Sound. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Los Fastidios,
Can,
Vaughan Mason & Crew,
The Real Kids,
The Cure,
Echo & the Bunnymen,
Lakeside,
Bootsy's Rubber Band,
Swell Maps,
Sly & The Family Stone,
Laurel Aitken,
Little Man,
Fear,
Blancmange,
Sugar Minott,
Kayak,
Bobby Hutcherson,
Echospace,
Max Romeo,
Man Parrish,
Hashim,
Drive Like Jehu,
Gang Starr,
Rhythim Is Rhythim,
Supertramp,
Crime,
Jimmy McGriff,
Judy Mowatt,
John Holt,
ABBA,
Jandek,
Intrusion,
U.S. Maple,
Art Ensemble Of Chicago,
Hasil Adkins,
Kevin Saunderson,
Larry & the Blue Notes,
Oblivians,
AZ,
Ultravox,
Lalann,
Arthur Verocai,
Ice-T,
Archie Shepp,
Gil Scott-Heron & Brian Jackson,
Lucky Dragons,
Hot Snakes,
Porter Ricks,
Aswad,
Fatback Band,
Zapp,
Charles Mingus,
Thompson Twins,
Pole,
Lafayette Afro Rock Band,
Johnny Osbourne,
Wire,
Bizarre Inc.,
Crooked Eye,
Television Personalities,
Von Mondo,
Major Organ And The Adding Machine,
Interpol,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.