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 Slovenia and from New York.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Milan.
I'm losing my edge to the art-school Manila 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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 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 Last Poets to the rock 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 The Cowsills. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every June of 44 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Erykah Badu,
Skarface,
Underground Resistance,
The Velvet Underground,
Thee Headcoats,
Grey Daturas,
Pierre Henry,
Bobby Byrd,
The Smoke,
Amon Düül II,
Flipper,
Soft Machine,
Heavy D & The Boyz,
ABBA,
Sam Rivers,
Whodini,
Aural Exciters,
a-ha,
Iggy Pop,
Rowland S Howard / Lydia Lunch,
Louis and Bebe Barron,
Lee Hazlewood,
MC5,
Jacques Brel,
Grauzone,
Interpol,
Orchestral Manoeuvres in the Dark,
The Associates,
the Slits,
Terrestrial Tones,
Mad Mike,
The Smiths,
Dave Gahan,
A Certain Ratio,
Liaisons Dangereuses,
Sunsets and Hearts,
Make Up,
E-Dancer,
Matthew Halsall,
Sun Ra Arkestra,
Soft Cell,
Bobby Sherman,
Judy Mowatt,
New Order,
The Birthday Party,
Khruangbin,
Dr. Dre and Snoop Doggy Dog,
Black Bananas,
Pete Rock & C.L. Smooth,
Little Man,
Monolake,
Nico,
Gang Gang Dance,
Notorious Big And Bone Thugs,
Avey Tare,
Mantronix,
Tubeway Army,
Grandmaster Flash,
Derrick May,
Pussy Galore,
These Immortal Souls,
Soulsonic Force,
Drexciya, Drexciya, Drexciya, Drexciya.
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.