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 El Salvador and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 Main Source to the grime kids.
I played it at Cafe Wha.
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 Young Rascals. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Camouflage 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
The Busters,
Fatback Band,
DNA,
Monolake,
Black Pus,
Arcadia,
New York Dolls,
Sun Ra,
The Mighty Diamonds,
Rhythm & Sound,
Kool Moe Dee,
Gian Franco Pienzio,
Bootsy Collins,
It's A Beautiful Day,
Davy DMX,
Jesper Dahlbäck,
Marcia Griffiths,
The Birthday Party,
Brothers Johnson,
Jawbox,
The West Coast Pop Art Experimental Band,
Drexciya,
Jimmy McGriff,
The Invisible,
The Durutti Column,
Joy Division,
Yellowson,
Lou Reed & John Cale,
The Peanut Butter Conspiracy,
X-Ray Spex,
X-102,
Larry & the Blue Notes,
Grandmaster Flash,
Television Personalities,
Todd Rundgren,
48th St. Collective,
Kevin Saunderson,
Gil Scott-Heron and Jamie xx,
D'Angelo,
The Mummies,
Franke,
Thinking Fellers Union Local 282,
The Blackbyrds,
Donny Hathaway,
The Neon Judgement,
Lebanon Hanover,
Ten City,
the Slits,
Graham Central Station,
Funky Four + One,
Kerri Chandler,
Maleditus Sound,
Bobby Womack,
Aural Exciters,
Donald Byrd,
Newcleus,
Archie Shepp,
Babytalk,
Orchestral Manoeuvres in the Dark,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.