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 Antigua and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Paris 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 harpsichord 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 Althea and Donna to the dance 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 Echospace. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Todd Rundgren record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Boogie Down Productions,
Tom Boy,
Monks,
Neil Young,
E-Dancer,
Max Romeo,
Robert Hood,
Albert Ayler,
Banda Bassotti,
Whodini,
DJ Style,
Kango’s Stein Massive,
Funkadelic,
Girls At Our Best!,
John Coltrane,
Avey Tare & Kría Brekkan,
The Evens,
Kerrie Biddell,
Reuben Wilson,
Rufus Thomas,
Soul Sonic Force,
The American Breed,
Japan,
Suburban Knight,
X-101,
The Detroit Cobras,
R.M.O.,
Nick Cave & The Bad Seeds,
Fugazi,
Wire,
Davy DMX,
The Divine Comedy,
Section 25,
Fat Boys,
Shuggie Otis,
Average White Band,
Tomorrow,
The Neon Judgement,
Malaria!,
Wolf Eyes,
EPMD,
Trumans Water,
Second Layer,
The Raincoats,
The Mummies,
Delon & Dalcan,
Magazine,
A Flock of Seagulls,
K-Klass,
Brick,
Underground Resistance,
The West Coast Pop Art Experimental Band,
Sad Lovers and Giants,
Lou Reed,
Nirvana,
Lyres,
The Gap Band,
Sixth Finger,
John Lydon,
Brand Nubian,
Fad Gadget,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.