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 Panama and from Accra.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Bologna.
I'm losing my edge to the art-school London 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Kaleidoscope to the crunk kids.
I played it at the Roxy.
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 Joy Division. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Marc Romboy vs. Booka Shade,
Nation of Ulysses,
Sunsets and Hearts,
The Fall,
The Knickerbockers,
Saccharine Trust,
Zero Boys,
Scratch Acid,
a-ha,
The Durutti Column,
Lou Reed,
John Lydon,
Skaos,
Jandek,
Gian Franco Pienzio,
Lou Reed & John Cale,
The Gories,
Fugazi,
Lou Christie,
The Flesh Eaters,
Man Parrish,
Icehouse,
Vladislav Delay,
Brass Construction,
Swans,
Funkadelic,
The Remains,
Lindisfarne,
Gerry Rafferty,
Motorama,
Drive Like Jehu,
Simply Red,
The Alarm Clocks,
Kool G Rap & DJ Polo,
Mission of Burma,
New Order,
Rowland S Howard / Lydia Lunch,
Charles Mingus,
Sam Rivers,
FM Einheit,
Aaron Thompson,
Morten Harket,
Television,
Girls At Our Best!,
David Axelrod,
Nas,
Byron Stingily,
Roger Hodgson,
Ralphi Rosario,
Q and Not U,
Ossler,
Oneida,
Pete Rock & C.L. Smooth,
Wally Richardson,
Ken Boothe,
Warren Ellis,
Ludus,
DJ Style,
Wighnomy Brothers & Robag Wruhme,
Beasts of Bourbon,
Crash Course in Science,
Juan Atkins,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.