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 Estonia and from Lagos.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1979.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Philadelphia 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 organ 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 The Barracudas to the funk 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 Bobby Byrd. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal disco 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 güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Newcleus,
The Electric Prunes,
Laurel Aitken,
Little Man,
Grauzone,
The Index,
Hasil Adkins,
Lonnie Liston Smith,
The Blues Magoos,
Peter and Kerry,
Sex Pistols,
Radiopuhelimet,
Young Marble Giants,
Sun Ra,
The Smoke,
PIL,
Ohio Players,
kango's stein massive,
Los Fastidios,
Davy DMX,
Gang of Four,
Kayak,
the Bar-Kays,
Matthew Bourne,
Depeche Mode,
Monolake,
Terrestrial Tones,
Thee Headcoats,
cv313,
Captain Beefheart & His Magic Band,
Roxette,
Faust,
Make Up,
Art Ensemble Of Chicago,
Gong,
Selector Dub Narcotic,
Isaac Hayes,
Skriet,
Barclay James Harvest,
The Chocolate Watch Band,
Spandau Ballet,
B.T. Express,
Yellowson,
Carl Craig,
Cal Tjader,
Dave Gahan,
Unrelated Segments,
June Days,
DJ Sneak,
Susan Cadogan,
The Dirtbombs,
Pharaoh Sanders and the Fire Engines,
Masters at Work,
Crooked Eye,
The Peanut Butter Conspiracy,
The Beau Brummels,
DeepChord presents Echospace,
Mission of Burma,
Robert Hood,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.