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 Taipei.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Cairo 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 The Remains to the dance 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 Siouxsie and the Banshees. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Eden Ahbez 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 '70s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Quantec,
B.T. Express,
The Durutti Column,
Juan Atkins,
Deadbeat,
Sugar Minott,
Donald Byrd,
Joensuu 1685,
The Standells,
kango's stein massive,
The Dead C,
Yusef Lateef,
Depeche Mode,
Archie Shepp,
Toni Rubio,
Ponytail,
Second Layer,
Moby Grape,
The Motions,
Q65,
Procol Harum,
Andrew Hill,
Delon & Dalcan,
Sad Lovers and Giants,
The Smoke,
Index,
Anakelly,
The Music Machine,
Eurythmics,
Hardrive,
Bauhaus,
The Birthday Party,
Infiniti,
Bootsy Collins,
Wings,
Bobby Hutcherson,
The Associates,
Liliput,
X-Ray Spex,
The Gap Band,
Warsaw,
Outsiders,
Gang of Four,
Dead Boys,
Althea and Donna,
X-101,
Aloha Tigers,
London Community Gospel Choir,
Soulsonic Force,
Wire,
Shoche,
The Royal Family And The Poor,
Lyres,
Tubeway Army,
Tears for Fears,
Can,
The Count Five,
Jimmy McGriff,
Deakin,
The Offenders,
The Gun Club,
Bad Manners,
Cecil Taylor,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.