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 Algeria and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Lagos and Toronto.
I'm losing my edge to the art-school Milan 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 linndrum 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 Sarah Menescal to the crunk 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 The Cramps. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every In Retrospect 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 '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Quantec,
Negative Approach,
The Pop Group,
Little Man,
Harmonia,
Strawberry Alarm Clock,
The Index,
Ponytail,
Kenny Larkin,
Blake Baxter,
Super Lover Cee & Casanova Rud,
Art Ensemble Of Chicago,
Unrelated Segments,
Pharoah Sanders,
Jesper Dahlback,
Boredoms,
Mission of Burma,
Man Parrish,
Lightning Bolt,
L. Decosne,
The Misunderstood,
K-Klass,
Desert Stars,
Nik Kershaw,
Alton Ellis,
The Birthday Party,
Robert Görl,
Bush Tetras,
Liliput,
Radio Birdman,
China Crisis,
Michelle Simonal,
Red Lorry Yellow Lorry,
Deepchord,
Jeff Mills,
Steve Hackett,
Schoolly D,
Eli Mardock,
Moby Grape,
Saccharine Trust,
The Wake,
Rotary Connection,
FM Einheit,
Mars,
Tomorrow,
Buzzcocks,
Echo & the Bunnymen,
Bootsy Collins,
Adolescents,
Dawn Penn,
Boz Scaggs,
June of 44,
Flipper,
Johnny Clarke,
A Certain Ratio,
Make Up,
David Axelrod,
Sister Nancy,
8 Eyed Spy,
Depeche Mode,
Underground Resistance,
The Offenders, The Offenders, The Offenders, The Offenders.
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.