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 Ireland and from Lille.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Woodstock 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 mellotron 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 The Dave Clark Five to the techno kids.
I played it at the Roxy.
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 Johnny Osbourne. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Derrick Morgan 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 '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba 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 Real Kids,
Lyres,
The Invisible,
H. Thieme,
Cymande,
Minnie Riperton,
Warsaw,
Japan,
Infiniti,
Average White Band,
K-Klass,
Magazine,
Eli Mardock,
Kevin Saunderson,
The Sisters of Mercy,
Brand Nubian,
Tommy Roe,
Jesper Dahlbäck,
Pylon,
Quando Quango,
the Bar-Kays,
Lakeside,
Moebius,
Deutsch Amerikanische Freundschaft,
Harry Pussy,
Ralphi Rosario,
Faust,
Sun City Girls,
The Birthday Party,
Slick Rick,
Eric Dolphy,
Selector Dub Narcotic,
The Gun Club,
The Residents,
Liaisons Dangereuses,
X-Ray Spex,
Heaven 17,
Henry Cow,
Brick,
Roxy Music,
Cabaret Voltaire,
Lou Christie,
Parry Music,
Jeff Mills,
These Immortal Souls,
Erasure,
Cheater Slicks,
The Gories,
Grey Daturas,
Arab on Radar,
Yazoo,
Jacob Miller,
The Detroit Cobras,
Johnny Clarke,
Ash Ra Tempel,
Iggy Pop,
Little Man,
The Modern Lovers,
Zero Boys,
Eyeless In Gaza,
Richard Hell and the Voidoids,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Sonics, The Sonics, The Sonics, The Sonics.
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.