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 Suriname and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lagos and Manila.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 Interpol to the grime kids.
I played it at the Hacienda.
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 Robert Wyatt. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Scan 7 record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Justin Hinds & The Dominoes record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Pet Shop Boys,
Aaron Thompson,
Letta Mbulu,
Kerri Chandler,
Eddi Front,
Scrapy,
Circle Jerks,
Scratch Acid,
Yazoo,
Skaos,
Rotary Connection,
The Cosmic Jokers,
The Electric Prunes,
48th St. Collective,
Dead Boys,
The Chocolate Watch Band,
Ash Ra Tempel,
Gerry Rafferty,
Bronski Beat,
Procol Harum,
Cameo,
The J.B.'s,
Marshall Jefferson,
Hoover,
Patti Smith,
Con Funk Shun,
The Divine Comedy,
the Normal,
Lyres,
Maurizio,
the Swans,
The Cowsills,
Echo & the Bunnymen,
Pussy Galore,
FM Einheit,
Electric Light Orchestra,
Brick,
Ultramagnetic MC's,
Fat Boys,
Public Enemy,
Blossom Toes,
The Martian,
David McCallum,
The Wake,
Monolake,
Index,
Agitation Free,
Rhythm & Sound,
Matthew Bourne,
ABBA,
Andrew Ashong & Theo Parrish,
Joyce Sims,
Wighnomy Brothers & Robag Wruhme,
Sexual Harrassment,
The Grass Roots,
Y Pants,
Bobby Sherman,
Derrick Morgan,
Throbbing Gristle,
Sonny Sharrock,
Skriet,
The Monochrome Set,
Crispy Ambulance, Crispy Ambulance, Crispy Ambulance, Crispy Ambulance.
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.