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 Gabon and from Houston.
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 1972.
I'm losing my edge.
To all the kids in Hong Kong and Woodstock.
I'm losing my edge to the art-school Jakarta 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 Donald Fagen 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 Soft Cell to the jazz kids.
I played it at the Astoria.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your snare and bought a güiro.
I hear that you and your band have sold your güiro and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Excepter,
Amazonics,
Cecil Taylor,
Accadde A,
Model 500,
Procol Harum,
Gil Scott-Heron & Brian Jackson,
Lou Reed & Metallica,
the Soft Cell,
Rites of Spring,
Soul Sonic Force,
Tomorrow,
H. Thieme,
Angry Samoans,
Hardrive,
The Flesh Eaters,
Ossler,
The Men They Couldn't Hang,
Lou Reed & John Cale,
Erasure,
a-ha,
F. McDonald,
London Community Gospel Choir,
Crime,
Jesper Dahlback,
Eric Copeland,
Wally Richardson,
Dawn Penn,
Nik Kershaw,
The Buckinghams,
Aural Exciters,
Pagans,
Lizzy Mercier Descloux,
Black Bananas,
The Zeros,
Lonnie Liston Smith,
Royal Trux,
Throbbing Gristle,
Nils Olav,
the Fania All-Stars,
Ultramagnetic MC's,
Altered Images,
Little Man,
The West Coast Pop Art Experimental Band,
Depeche Mode,
Justin Hinds & The Dominoes,
Grauzone,
Circle Jerks,
The Monochrome Set,
Lou Reed,
Kauko Röyhkä ja Narttu,
Derrick Morgan,
R.M.O.,
Barry Ungar,
Outsiders,
Bush Tetras,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.