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 Colombia and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Houston 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 808 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 Young Marble Giants to the funk 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 Grauzone. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Henry Cow record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Blake Baxter,
The Cure,
Visage,
Joe Smooth,
Desert Stars,
Amazonics,
The Techniques,
MC5,
Amon Düül II,
The Smiths,
Pagans,
Simply Red,
Dead Boys,
This Heat,
Röyhkä ja Rättö ja Lehtisalo,
In Retrospect,
Brand Nubian,
James Chance & The Contortions,
Heavy D & The Boyz,
Quantec,
Spoonie Gee,
Ludus,
Kauko Röyhkä ja Narttu,
Lou Reed,
Shoche,
Blossom Toes,
The Blackbyrds,
Sällskapet,
Terrestrial Tones,
Clear Light,
Alison Limerick,
Lightning Bolt,
Barrington Levy,
Deepchord,
KRS-One,
Funky Four + One,
Alton Ellis,
Can,
Nick Fraelich,
Lucky Dragons,
The Cosmic Jokers,
Howard Jones,
Hardrive,
Rapeman,
Cameo,
Brass Construction,
Sight & Sound,
Roxette,
Vainqueur,
The Alarm Clocks,
The Barracudas,
Rekid,
Parry Music,
Sun Ra,
kango's stein massive,
The Residents,
E-Dancer,
Eric B and Rakim,
Darondo,
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.