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 Dominica and from Philadelphia.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Lille and Woodstock.
I'm losing my edge to the art-school Lyon 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the guitar 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 Jerry Gold Smith to the electroclash 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 Shuggie Otis. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every The Men They Couldn't Hang record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Aaron Thompson,
Interpol,
Deutsch Amerikanische Freundschaft,
Nation of Ulysses,
The Flesh Eaters,
Nik Kershaw,
Q65,
Neu!,
Mark Hollis,
Marc Romboy vs. Booka Shade,
In Retrospect,
Eric Dolphy,
Technova,
Beasts of Bourbon,
The Associates,
Junior Murvin,
The Moody Blues,
ABBA,
Ralphi Rosario,
Heaven 17,
Camberwell Now,
The Durutti Column,
Angels of Light & Akron/Family,
Black Bananas,
Eurythmics,
The Mojo Men,
The New Christs,
H. Thieme,
Trumans Water,
The Young Rascals,
The Detroit Cobras,
Glambeats Corp.,
Scratch Acid,
Monks,
Mars,
Second Layer,
The American Breed,
Carl Craig,
Marmalade,
Lou Reed,
The Selecter,
Eric B and Rakim,
Smog,
The Residents,
Banda Bassotti,
John Lydon,
Grandmaster Flash and the Furious Five,
Main Source,
Silicon Teens,
Gang Green,
Cal Tjader,
Hoover,
The Grass Roots,
Charles Mingus,
Sugar Minott,
Deadbeat,
Sam Rivers,
Suicide,
Hot Snakes,
Howard Jones,
Oneida,
Gong,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.