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 St Lucia and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1974.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Tehran 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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Tom Boy to the jazz 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 Pete Rock & C.L. Smooth. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
The Move,
Rod Modell,
The Barracudas,
Talk Talk,
Sam Rivers,
Banda Bassotti,
Cheater Slicks,
Albert Ayler,
Eurythmics,
Deutsch Amerikanische Freundschaft,
The Leaves,
Visionaries,LMNO, T- Love & Iriscience,
Hot Snakes,
These Immortal Souls,
Lou Christie,
10cc,
Nik Kershaw,
Frankie Knuckles,
Joyce Sims,
X-101,
Bill Near,
The Durutti Column,
Deakin,
Rhythm & Sound,
Crispy Ambulance,
Mark Hollis,
Jacob Miller,
The Zeros,
The Sisters of Mercy,
Juan Atkins,
Connie Case,
Infiniti,
U.S. Maple,
Marine Girls,
Kurtis Blow,
Q and Not U,
Yaz,
Audionom,
Accadde A,
Marshall Jefferson,
the Normal,
Art Ensemble Of Chicago,
Maurizio,
Jesper Dahlbäck,
The Associates,
Harmonia,
Sad Lovers and Giants,
Tim Buckley,
Radiopuhelimet,
Chris & Cosey,
Arcadia,
Technova,
Eyeless In Gaza,
FM Einheit,
Red Lorry Yellow Lorry,
The Wake,
Jimmy McGriff,
Man Eating Sloth,
Kauko Röyhkä ja Narttu,
Orchestral Manoeuvres in the Dark,
Fat Boys,
The Evens, The Evens, The Evens, The Evens.
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.