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 Togo and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1973.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Echo & the Bunnymen to the funk kids.
I played it at Cafe Wha.
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 Dead C. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
B.T. Express,
Interpol,
AZ,
Anakelly,
Soulsonic Force,
Siouxsie and the Banshees,
Dennis Brown,
EPMD,
Stockholm Monsters,
John Holt,
Adolescents,
Be Bop Deluxe,
Camron Feat. Jay Z And Juelz,
The Modern Lovers,
Michelle Simonal,
Moss Icon,
Sandy B,
The Victims,
Clear Light,
Archie Shepp,
Bush Tetras,
The West Coast Pop Art Experimental Band,
Hot Snakes,
Vaughan Mason & Crew,
John Cale,
James Chance & The Contortions,
Crash Course in Science,
ABBA,
Matthew Halsall,
Janne Schatter,
Pylon,
Laurel Aitken,
Wally Richardson,
Mo-Dettes,
David Axelrod,
Camberwell Now,
Audionom,
June of 44,
Bluetip,
The Dirtbombs,
Nirvana,
the Association,
Second Layer,
Brand Nubian,
Strawberry Alarm Clock,
The Smoke,
Eric B and Rakim,
The Happenings,
Bizarre Inc.,
In Retrospect,
Spandau Ballet,
Niagra,
Gian Franco Pienzio,
Panda Bear,
Lalann,
Wighnomy Brothers & Robag Wruhme,
Dave Gahan,
Traffic Nightmare,
World's Most, World's Most, World's Most, World's Most.
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.