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 Lithuania and from London.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Zeros to the funk kids.
I played it at the Hacienda.
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 Ash Ra Tempel. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Public Image Ltd.,
Ohio Players,
PIL,
Subhumans,
Pharoah Sanders,
Saccharine Trust,
DNA,
The Blackbyrds,
Fluxion,
Metal Thangz,
Cabaret Voltaire,
Delon & Dalcan,
FM Einheit,
The Detroit Cobras,
Glambeats Corp.,
The Vogues,
Audionom,
Khruangbin,
The Gap Band,
Joey Negro,
Au Pairs,
Richard Hell and the Voidoids,
The Divine Comedy,
Spandau Ballet,
Minor Threat,
Blancmange,
Kool G Rap & DJ Polo,
The Electric Prunes,
Guru Guru,
Theoretical Girls,
Fad Gadget,
Eurythmics,
Mr. Review,
U.S. Maple,
Drive Like Jehu,
Gang Gang Dance,
Derrick May,
The Durutti Column,
Accadde A,
The Sisters of Mercy,
The New Christs,
Al Stewart,
World's Most,
OOIOO,
Junior Murvin,
Amazonics,
Lee Hazlewood,
The Men They Couldn't Hang,
The J.B.'s,
Aaron Thompson,
The Skatalites,
Sun Ra,
Gong,
Gil Scott-Heron & Brian Jackson,
Quadrant,
Flash Fearless,
Peter & Gordon,
Grandmaster Flash,
Youth Brigade,
Fort Wilson Riot,
Arab on Radar,
Nas, Nas, Nas, Nas.
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.