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 Ukraine and from Taipei.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Lyon and Delhi.
I'm losing my edge to the art-school Houston 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 808 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 Pet Shop Boys to the punk kids.
I played it at the Crocodile.
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 Brand Nubian. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Fifty Foot Hose record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
The Invisible,
Intrusion,
OOIOO,
Piero Umiliani,
FM Einheit,
The Victims,
Spandau Ballet,
Joyce Sims,
Sad Lovers and Giants,
Josef K,
Moby Grape,
Eden Ahbez,
Brand Nubian,
The Techniques,
The New Christs,
Half Japanese,
Byron Stingily,
The Litter,
Babytalk,
Heavy D & The Boyz,
Franke,
Lalo Schifrin,
Ultra Naté,
The Fuzztones,
JFA,
The Cure,
Joensuu 1685,
Q65,
Mantronix,
Underground Resistance,
Eric Copeland,
Chrome,
Aswad,
The Gap Band,
Danielle Patucci,
Masters at Work,
Maleditus Sound,
Mandrill,
The Last Poets,
Accadde A,
Alison Limerick,
DJ Style,
Man Parrish,
Faust,
Curtis Mayfield,
Cheater Slicks,
Al Stewart,
The Busters,
Monks,
Unrelated Segments,
Roy Ayers Ubiquity,
Public Enemy,
Beasts of Bourbon,
Kayak,
Deepchord,
A Flock of Seagulls,
Bill Near,
Sex Pistols,
John Lydon,
The Sound, The Sound, The Sound, The Sound.
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.