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 Latvia and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1960 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
I'm losing my edge to the art-school Accra 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 Q65 to the jazz kids.
I played it at the Astoria.
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 Boogie Down Productions. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal dance 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Lizzy Mercier Descloux,
DJ Sneak,
The Tremeloes,
Easy Going,
Robert Görl,
Deakin,
Gregory Isaacs,
The Mojo Men,
Idris Muhammad,
Dark Day,
Thee Headcoats,
The Golliwogs,
Absolute Body Control,
Ice-T,
Dave Gahan,
The Real Kids,
The Gories,
John Foxx,
Bootsy's Rubber Band,
Electric Light Orchestra,
The Invisible,
Newcleus,
New Order,
David McCallum,
Buzzcocks,
The Associates,
Soft Cell,
Livin' Joy,
Lou Christie,
Andrew Ashong & Theo Parrish,
De La Soul & Jungle Brothers,
Franke,
Soul II Soul,
Cameo,
Magazine,
The Pop Group,
Gang of Four,
EPMD,
Lou Reed,
Shuggie Otis,
Sex Pistols,
The Cowsills,
Chris & Cosey,
Moss Icon,
The Mummies,
Wighnomy Brothers & Robag Wruhme,
Notorious BIG live in Amsterdam,
Pharaoh Sanders and the Fire Engines,
Saccharine Trust,
Panda Bear,
Jesper Dahlbäck,
John Coltrane,
The Cramps,
Guru Guru,
Minor Threat,
Lou Reed & Metallica,
Arab on Radar,
The Victims,
Mary Jane Girls,
The Blues Magoos,
Gong,
The Royal Family And The Poor,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.