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 Zimbabwe and from Philadelphia.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Portland 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Royal Family And The Poor to the electroclash 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 Gap Band. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every The Stooges 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 '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Ten City,
Con Funk Shun,
Toni Rubio,
DJ Sneak,
Lou Reed & John Cale,
FM Einheit,
Rites of Spring,
Parry Music,
The Victims,
Sandy B,
Pantytec,
Eric B and Rakim,
Spandau Ballet,
The New Christs,
Marcia Griffiths,
Erasure,
Gastr Del Sol,
The Golliwogs,
The Smoke,
Cabaret Voltaire,
Black Sheep,
Minnie Riperton,
Animal Collective,
Josef K,
The Move,
Sixth Finger,
Andrew Hill,
The Seeds,
Cameo,
Bad Manners,
Bill Wells,
Mary Jane Girls,
The Divine Comedy,
Heaven 17,
Skarface,
Kool G Rap & DJ Polo,
Talk Talk,
The Dead C,
World's Most,
Boz Scaggs,
Jacques Brel,
Electric Light Orchestra,
Derrick May,
Amon Düül,
Laurel Aitken,
Kauko Röyhkä ja Narttu,
Whodini,
Goldenarms,
Lalann,
the Germs,
The Cowsills,
48th St. Collective,
Bizarre Inc.,
Barrington Levy,
F. McDonald,
Porter Ricks,
Althea and Donna,
Theoretical Girls,
Quando Quango,
Y Pants,
Man Eating Sloth,
Terror Squad Feat. Camron,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.