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 Dominica and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Mumbai 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 Josef K practice in a loft in Edinburgh.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Gang Starr to the rock kids.
I played it at the Hacienda.
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 Major Organ And The Adding Machine. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Dawn Penn 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Agent Orange,
The Residents,
World's Most,
Japan,
Gregory Isaacs,
Duran Duran,
Symarip,
Roger Hodgson,
The Happenings,
Gabor Szabo,
The Kinks,
Reuben Wilson,
Sonic Youth,
Andrew Hill,
Black Bananas,
Traffic Nightmare,
John Foxx,
Fort Wilson Riot,
Bad Manners,
Charles Mingus,
Desert Stars,
Oblivians,
FM Einheit,
MC5,
The Blues Magoos,
Wasted Youth,
Clear Light,
Livin' Joy,
The Index,
Ice-T,
cv313,
Dorothy Ashby,
Adolescents,
Scrapy,
Slave,
Moebius,
Gil Scott-Heron & Brian Jackson,
Neil Young,
Unwound,
The Dirtbombs,
Lou Reed & John Cale,
Suicide,
Pharaoh Sanders and the Fire Engines,
Flipper,
U.S. Maple,
Niagra,
Blancmange,
Grauzone,
Sun Ra Arkestra,
ABC,
EPMD,
Trumans Water,
Suburban Knight,
Pylon,
The Dave Clark Five,
Justin Hinds & The Dominoes,
DNA,
Byron Stingily,
Ituana,
The Motions,
Underground Resistance,
Selector Dub Narcotic,
Hoover,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.