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 Ukraine and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Seoul.
I'm losing my edge to the art-school Columbus 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 mellotron 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 Tim Buckley to the grime kids.
I played it at the Spitz.
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 The Barracudas. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Nas 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Half Japanese,
Tomorrow,
Bush Tetras,
Camberwell Now,
Quadrant,
The Mojo Men,
Minor Threat,
Rotary Connection,
The Raincoats,
The Black Dice,
DNA,
Bobby Sherman,
Animal Collective,
Nation of Ulysses,
The Litter,
Eli Mardock,
Eric Copeland,
Scientists,
Red Lorry Yellow Lorry,
The Detroit Cobras,
Eddi Front,
Surgeon,
Mad Mike,
The Martian,
Sarah Menescal,
Mission of Burma,
Popol Vuh,
Ten City,
Rufus Thomas,
Hoover,
Ultramagnetic MC's,
Major Organ And The Adding Machine,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
D'Angelo,
Sonny Sharrock,
The Beau Brummels,
June Days,
Charles Mingus,
The Residents,
Ornette Coleman,
Scion,
Sight & Sound,
Urselle,
The Sound,
Sonic Youth,
Technova,
Cabaret Voltaire,
Eric B and Rakim,
The United States of America,
Fear,
Pierre Henry,
Pussy Galore,
Smog,
London Community Gospel Choir,
Marcia Griffiths,
John Lydon,
Gerry Rafferty,
Nas,
The Human League,
X-Ray Spex,
Crime,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.