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 Albania and from Bremen.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Toronto and Milan.
I'm losing my edge to the art-school Spokane 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the arpeggiator 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 Jeff Mills to the crunk kids.
I played it at the 40 Watt.
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 Marvin Gaye. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Lakeside,
The Happenings,
Rhythm & Sound,
Eric Copeland,
Joe Finger,
Gregory Isaacs,
Visage,
Harmonia,
The Slits,
Robert Wyatt,
Masters at Work,
Grandmaster Flash,
Y Pants,
Rekid,
The Detroit Cobras,
Wolf Eyes,
Peter Gordon & Love of Life Orchestra,
Interpol,
Todd Rundgren,
Ralphi Rosario,
Robert Görl,
Spandau Ballet,
Janne Schatter,
Deepchord,
Stockholm Monsters,
The Music Machine,
Gil Scott Heron,
E-Dancer,
Sonny Sharrock,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Crispy Ambulance,
Soul Sonic Force,
Skarface,
The West Coast Pop Art Experimental Band,
Nils Olav,
Lou Reed & John Cale,
Barclay James Harvest,
Second Layer,
Andrew Ashong & Theo Parrish,
Anthony Braxton,
Rhythim Is Rhythim,
Hot Snakes,
The American Breed,
Magma,
CMW,
Parry Music,
The Dave Clark Five,
Little Man,
Avey Tare's Slasher Flicks,
Outsiders,
The Beau Brummels,
Isaac Hayes,
Gastr Del Sol,
Boredoms,
Lungfish,
Orchestral Manoeuvres in the Dark,
Desert Stars,
Aloha Tigers,
Rosa Yemen,
Pharoah Sanders,
The Busters,
Excepter,
Zapp, Zapp, Zapp, Zapp.
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.