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 Jamaica and from New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Cairo and Copenhagen.
I'm losing my edge to the art-school Tehran 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 organ 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 Sonny Sharrock to the dance 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 The Tremeloes. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Country Joe & The Fish 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Bad Manners,
Hot Snakes,
Aaron Thompson,
Yazoo,
The Men They Couldn't Hang,
MC5,
Tim Buckley,
The Names,
The Neon Judgement,
Grauzone,
Peter & Gordon,
Grandmaster Flash and the Furious Five,
The Cramps,
Larry & the Blue Notes,
Quando Quango,
The Five Americans,
Andrew Hill,
Hoover,
K-Klass,
Rosa Yemen,
Underground Resistance,
The Pretty Things,
Jesper Dahlbäck,
Jerry Gold Smith,
Bootsy's Rubber Band,
Theoretical Girls,
Archie Shepp,
Arab on Radar,
Gil Scott Heron,
H. Thieme,
Goldenarms,
Colin Newman,
The Young Rascals,
Outsiders,
Agitation Free,
Monks,
Delta 5,
Soul Sonic Force,
Moss Icon,
Avey Tare,
Michelle Simonal,
A Flock of Seagulls,
Skaos,
Liliput,
Marine Girls,
Bush Tetras,
Maurizio,
Laurel Aitken,
Ossler,
Newcleus,
Dead Boys,
Circle Jerks,
Big Daddy Kane,
Severed Heads,
Silicon Teens,
Manfred Mann's Earth Band,
Skriet,
Amon Düül II,
Eden Ahbez,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.