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 Bhutan and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1974.
I'm losing my edge.
To all the kids in Manila and Cairo.
I'm losing my edge to the art-school Jakarta 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 organ 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 China Crisis to the grunge kids.
I played it at the Troubador.
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 Bootsy's Rubber Band. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
John Coltrane,
Selector Dub Narcotic,
Terrestrial Tones,
Los Fastidios,
Eyeless In Gaza,
Liaisons Dangereuses,
The Mighty Diamonds,
Robert Hood,
The Sisters of Mercy,
Aswad,
Harry Pussy,
Ultravox,
Infiniti,
Young Marble Giants,
Magma,
Pere Ubu,
Saccharine Trust,
Hardrive,
The Star Department,
Motorama,
Half Japanese,
Colin Newman,
Ossler,
Nick Fraelich,
Arcadia,
ABC,
Pete Rock & C.L. Smooth,
Iggy Pop,
Fear,
Spandau Ballet,
Average White Band,
Sight & Sound,
Ronan,
Procol Harum,
Mantronix,
Soul II Soul,
KRS-One,
Suburban Knight,
Frankie Knuckles,
the Soft Cell,
Neu!,
Interpol,
Bush Tetras,
Matthew Halsall,
Country Joe & The Fish,
Das Ding,
Connie Case,
June of 44,
Yazoo,
Tres Demented,
Black Pus,
Negative Approach,
Siouxsie and the Banshees,
Boogie Down Productions,
Joensuu 1685,
Marc Romboy vs. Booka Shade,
Mandrill,
Albert Ayler,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.