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 Angola and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Mumbai.
I'm losing my edge to the art-school London 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Country Teasers to the jazz kids.
I played it at the Astoria.
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 Jesper Dahlbäck. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every The Names record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Stetsasonic,
Brass Construction,
Black Flag,
The Monochrome Set,
Bootsy's Rubber Band,
Livin' Joy,
Malaria!,
Rufus Thomas,
Spandau Ballet,
Howard Jones,
Peter & Gordon,
Smog,
Rotary Connection,
Oppenheimer Analysis,
The Seeds,
Henry Cow,
Erykah Badu,
The Velvet Underground,
the Sonics,
Blancmange,
Aaron Thompson,
The Fugs,
ABBA,
Goldenarms,
It's A Beautiful Day,
Radiopuhelimet,
Nils Olav,
The Walker Brothers,
the Association,
Letta Mbulu,
Deepchord,
Wighnomy Brothers & Robag Wruhme,
Peter and Kerry,
Judy Mowatt,
Sparks,
Television Personalities,
U.S. Maple,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Music Machine,
Eurythmics,
Visionaries,LMNO, T- Love & Iriscience,
Lou Reed,
Outsiders,
Fat Boys,
MDC,
The Red Krayola,
Scratch Acid,
The Star Department,
Country Teasers,
The Vogues,
The United States of America,
Inner City,
The Five Americans,
Harmonia,
The Moleskins,
The Men They Couldn't Hang,
Swell Maps,
Ohio Players,
The Dave Clark Five,
Jesper Dahlback,
John Lydon,
Bootsy Collins,
Arcadia, Arcadia, Arcadia, Arcadia.
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.