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 Sudan and from Johannesburg.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Paris and Lyon.
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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the güiro 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 Half Japanese to the grime 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 The Monochrome Set. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Dual Sessions 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maurizio,
Buzzcocks,
Bang on a Can All-Stars,
Visage,
Young Marble Giants,
Sparks,
Alice Coltrane,
Saccharine Trust,
The Chocolate Watch Band,
The Slits,
Jerry Gold Smith,
Wolf Eyes,
Sister Nancy,
Black Sheep,
Gary Puckett & The Union Gap,
Howard Jones,
Q65,
Chris Corsano,
a-ha,
Sun Ra Arkestra,
Janne Schatter,
Stiv Bators,
Pharoah Sanders,
Niagra,
In Retrospect,
Neil Young & Crazy Horse,
Supertramp,
Flash Fearless,
The Monochrome Set,
The Trojans,
Eli Mardock,
Avey Tare,
Siglo XX,
Y Pants,
The Saints,
Mission of Burma,
Scion,
Kaleidoscope,
Metal Thangz,
The Mojo Men,
Ultravox,
Sonny Sharrock,
Lebanon Hanover,
Faust,
Henry Cow,
The Names,
Fat Boys,
June Days,
The Victims,
Darondo,
Easy Going,
Half Japanese,
The Moleskins,
The Detroit Cobras,
Sun City Girls,
Donny Hathaway,
A Certain Ratio,
Eddi Front,
The Gun Club,
Gang Starr,
Art Ensemble Of Chicago,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.