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 Croatia and from Johannesburg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Paris.
I'm losing my edge to the art-school Taipei 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 sitar 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 Schoolly D to the techno kids.
I played it at the Crocodile.
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 Barrington Levy. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Delta 5 record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Guru Guru,
Arthur Verocai,
The Young Rascals,
Nik Kershaw,
Crime,
Funky Four + One,
Avey Tare & Kría Brekkan,
This Heat,
Bad Manners,
Masters at Work,
Marcia Griffiths,
Gong,
Rod Modell,
Junior Murvin,
Brick,
Kaleidoscope,
Das Ding,
Lou Reed & Metallica,
Roy Ayers Ubiquity,
Joey Negro,
Marshall Jefferson,
the Germs,
Avey Tare,
The Residents,
The Mighty Diamonds,
Grauzone,
Harry Pussy,
Intrusion,
Oneida,
Hashim,
Matthew Bourne,
Minny Pops,
Curtis Mayfield,
Glambeats Corp.,
Vladislav Delay,
Big Daddy Kane,
The Standells,
Monks,
Nas,
Marmalade,
Soul II Soul,
Hot Snakes,
Cabaret Voltaire,
Robert Hood,
The Five Americans,
Bob Dylan,
Ultravox,
Dorothy Ashby,
Sugar Minott,
The Litter,
The Star Department,
Terrestrial Tones,
Boredoms,
Jesper Dahlbäck,
Iggy Pop,
Frankie Knuckles,
The Red Krayola,
Jeff Mills,
Prince Buster,
Porter Ricks,
Deepchord, Deepchord, Deepchord, Deepchord.
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.