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 Benin and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Madrid and Shanghai.
I'm losing my edge to the art-school Tehran 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 marimba 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 Kas Product to the jazz kids.
I played it at Trash.
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 Sugar Minott. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every The Modern Lovers 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Letta Mbulu,
Masters at Work,
Sandy B,
Electric Light Orchestra,
Girls At Our Best!,
Los Fastidios,
A Certain Ratio,
Bobbi Humphrey,
In Retrospect,
X-102,
Grandmaster Flash and the Furious Five,
Talk Talk,
The Mojo Men,
Rapeman,
Eric B and Rakim,
Oneida,
Boogie Down Productions,
Loose Ends,
Arthur Verocai,
Depeche Mode,
Silicon Teens,
Alphaville,
The Blackbyrds,
Yaz,
cv313,
Rufus Thomas,
The Residents,
Siouxsie and the Banshees,
Yazoo,
Babytalk,
Kurtis Blow,
Gregory Isaacs,
Gary Puckett & The Union Gap,
Toni Rubio,
Gil Scott-Heron and Jamie xx,
Brick,
Kerri Chandler,
Minnie Riperton,
Essential Logic,
DNA,
Don Cherry,
Moebius,
The Gories,
Arcadia,
The Zeros,
The Fuzztones,
Tubeway Army,
Stockholm Monsters,
The Gun Club,
Sam Rivers,
The Five Americans,
Peter & Gordon,
Technova,
Bootsy's Rubber Band,
June of 44,
Scientists,
Ohio Players,
Drive Like Jehu,
Prince Buster,
Bang on a Can All-Stars,
Ash Ra Tempel,
Man Parrish,
Swans, Swans, Swans, Swans.
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.