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 Trinidad & Tobago and from Woodstock.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Marc Almond to the funk kids.
I played it at the 40 Watt.
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 Skatalites. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Joe Finger 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Godley & Creme,
Fugazi,
Kayak,
Soul Sonic Force,
Drive Like Jehu,
Half Japanese,
Gil Scott-Heron and Jamie xx,
Judy Mowatt,
F. McDonald,
Tubeway Army,
Rapeman,
Ponytail,
Piero Umiliani,
Big Daddy Kane,
Lou Christie,
Brothers Johnson,
Lee Hazlewood,
Thee Headcoats,
Lakeside,
The Moleskins,
Davy DMX,
Captain Beefheart & His Magic Band,
Little Man,
Lalann,
Cecil Taylor,
Mad Mike,
Terror Squad Feat. Camron,
Jandek,
Niagra,
Kango’s Stein Massive,
Spandau Ballet,
Bobby Sherman,
Bootsy Collins,
Pylon,
Television Personalities,
Pierre Henry,
Von Mondo,
Supertramp,
Oppenheimer Analysis,
Matthew Bourne,
R.M.O.,
Sparks,
The Index,
The Standells,
Popol Vuh,
Tom Boy,
The Peanut Butter Conspiracy,
New Order,
The Monochrome Set,
Deutsch Amerikanische Freundschaft,
The Blackbyrds,
Ajijia Myrayebe,
Man Parrish,
Rod Modell,
Gerry Rafferty,
Monolake,
Procol Harum,
Richard Hell and the Voidoids,
Kool Moe Dee,
ABC,
Johnny Osbourne,
Ituana, Ituana, Ituana, Ituana.
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.