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 Swaziland and from Glasgow.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Bremen 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 guitar 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 Gang Starr to the crunk kids.
I played it at Trash.
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 Carl Craig. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Motorama,
The Slackers,
Saccharine Trust,
Model 500,
Lalo Schifrin,
Bootsy's Rubber Band,
Soft Machine,
Gang Starr,
Kerrie Biddell,
Joy Division,
X-Ray Spex,
a-ha,
EPMD,
Porter Ricks,
Brick,
Ultravox,
Black Flag,
Lyres,
Alison Limerick,
KRS-One,
Quando Quango,
Mars,
John Foxx,
Alice Coltrane,
Eric Copeland,
The Smoke,
Wings,
Liliput,
Todd Terry,
The United States of America,
Tim Buckley,
The Blues Magoos,
David Axelrod,
MC5,
Cameo,
Jeff Mills,
The Moleskins,
Cheater Slicks,
Skriet,
LL Cool J,
Susan Cadogan,
Jacques Brel,
Andrew Ashong & Theo Parrish,
Crash Course in Science,
Eli Mardock,
Rufus Thomas,
Minnie Riperton,
Johnny Clarke,
New York Dolls,
The Gories,
Arab on Radar,
Barbara Tucker,
Barrington Levy,
Visage,
Scion,
Blake Baxter,
Deutsch Amerikanische Freundschaft,
Camberwell Now,
Mary Jane Girls,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.