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 Ireland and from Accra.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Bologna and Philadelphia.
I'm losing my edge to the art-school Halifax 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Supertramp to the disco 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 Bush Tetras. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Rites of Spring record on German import.
I heard that you have a white label of every seminal rap 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
DJ Style,
The Jesus and Mary Chain,
One Last Wish,
Idris Muhammad,
Sad Lovers and Giants,
The Blackbyrds,
Deepchord,
Vainqueur,
John Holt,
Kurtis Blow,
Schoolly D,
F. McDonald,
Tom Boy,
Aural Exciters,
Brand Nubian,
Swans,
The Durutti Column,
The Mojo Men,
Saccharine Trust,
Fela Kuti,
Scientists,
Y Pants,
Stereo Dub,
Teenage Jesus and the Jerks,
Johnny Clarke,
Alton Ellis,
Fort Wilson Riot,
Porter Ricks,
Wasted Youth,
Dual Sessions,
MC5,
Pharaoh Sanders and the Fire Engines,
Bauhaus,
Erasure,
The Fuzztones,
Freddie Wadling,
Con Funk Shun,
Moby Grape,
Eric Copeland,
Mad Mike,
The Star Department,
Jacob Miller,
Avey Tare's Slasher Flicks,
Major Organ And The Adding Machine,
Delon & Dalcan,
Joe Smooth,
The Remains,
Grandmaster Flash and the Furious Five,
Toni Rubio,
Q and Not U,
Model 500,
Section 25,
Chrome,
Blancmange,
The Vogues,
Minny Pops,
The Leaves,
The Toasters,
Bobby Byrd,
Tres Demented,
Sparks,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.