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 Lebanon and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1970.
I'm losing my edge.
To all the kids in Glasgow and London.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Nas to the rock kids.
I played it at the 40 Watt.
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 Roy Ayers Ubiquity. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Yaz record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Notorious BIG live in Amsterdam,
Junior Murvin,
Fatback Band,
Loose Ends,
The Pop Group,
Adolescents,
Gastr Del Sol,
Lindisfarne,
Pylon,
Siouxsie and the Banshees,
Sly & The Family Stone,
Albert Ayler,
Erasure,
The Associates,
The Motions,
8 Eyed Spy,
Brass Construction,
Saccharine Trust,
Slave,
Eli Mardock,
Lucky Dragons,
Black Sheep,
Accadde A,
Piero Umiliani,
Harry Pussy,
China Crisis,
Scan 7,
James Chance & The Contortions,
cv313,
Maleditus Sound,
Von Mondo,
Kool Moe Dee,
Dawn Penn,
Vladislav Delay,
The Seeds,
The Wake,
Andrew Hill,
Pet Shop Boys,
The Dirtbombs,
The Dead C,
Vaughan Mason & Crew,
Connie Case,
Altered Images,
Donny Hathaway,
Lee Hazlewood,
Marine Girls,
Tears for Fears,
The Cosmic Jokers,
Magazine,
Anakelly,
The Slits,
Glambeats Corp.,
Shoche,
the Normal,
Clear Light,
The Electric Prunes,
Peter Gordon & Love of Life Orchestra,
Delta 5,
Terrestrial Tones,
Iggy Pop,
Crooked Eye,
Popol Vuh,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.