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 Benin and from Jakarta.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Tehran and Cairo.
I'm losing my edge to the art-school Accra 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 1979 at the first Second Layer practice in a loft in South 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 Soft Cell to the funk kids.
I played it at the Troubador.
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 Desert Stars. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal jazz 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 a synthesizer and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
Whodini,
World's Most,
Spoonie Gee,
Orchestral Manoeuvres in the Dark,
In Retrospect,
Marine Girls,
Chris Corsano,
Japan,
Scott Walker + Sunn O))),
Junior Murvin,
Tomorrow,
Albert Ayler,
Grandmaster Flash and the Furious Five,
Negative Approach,
Arthur Verocai,
The Standells,
Pierre Henry,
Inner City,
Echospace,
F. McDonald,
Michelle Simonal,
Marshall Jefferson,
Alison Limerick,
Angels of Light & Akron/Family,
The Men They Couldn't Hang,
Sam Rivers,
Isaac Hayes,
Silicon Teens,
Major Organ And The Adding Machine,
Soft Machine,
Dual Sessions,
Kool G Rap & DJ Polo,
Clear Light,
Slick Rick,
Alton Ellis,
Fear,
Funky Four + One,
Hashim,
Scratch Acid,
Rosa Yemen,
Dennis Brown,
The Fire Engines,
Dark Day,
Quando Quango,
The Residents,
Lou Christie,
Section 25,
Marc Romboy vs. Booka Shade,
Ronan,
Jandek,
Vainqueur,
Royal Trux,
Popol Vuh,
L. Decosne,
Bootsy's Rubber Band,
Eddi Front,
10cc,
Ornette Coleman,
Stereo Dub,
Minutemen,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.