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 Liechtenstein and from Lagos.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Hong Kong 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 sitar 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 Grass Roots to the funk 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 Siouxsie and the Banshees. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
The Durutti Column,
Negative Approach,
The Cosmic Jokers,
The Monks,
Kenny Larkin,
Pylon,
Neil Young,
Howard Jones,
The Peanut Butter Conspiracy,
PIL,
The Doobie Brothers,
the Slits,
Agent Orange,
Isaac Hayes,
Maleditus Sound,
The Litter,
Matthew Bourne,
Arab on Radar,
Ken Boothe,
Index,
The Stooges,
Pere Ubu,
The Skatalites,
Max Romeo,
The Music Machine,
Rowland S Howard / Lydia Lunch,
Art Ensemble Of Chicago,
Lou Reed & John Cale,
Mary Jane Girls,
Bill Wells,
Ralphi Rosario,
Eden Ahbez,
Avey Tare's Slasher Flicks,
Camberwell Now,
Steve Hackett,
Massinfluence,
John Holt,
The Fortunes,
The New Christs,
The Blues Magoos,
Scion,
Lou Reed & Metallica,
Public Image Ltd.,
Rakim,
Todd Terry,
Surgeon,
Ultramagnetic MC's,
The Modern Lovers,
It's A Beautiful Day,
The Divine Comedy,
The Star Department,
DeepChord presents Echospace,
The Count Five,
Bobby Sherman,
Pagans,
Brothers Johnson,
Chrome,
Echo & the Bunnymen,
Simply Red,
Sun City Girls,
The Flesh Eaters,
Funky Four + One,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.