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 Azerbaijan and from Milan.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1974.
I'm losing my edge.
To all the kids in London and Beijing.
I'm losing my edge to the art-school Woodstock 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Lebanon Hanover to the disco 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 Ponytail. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Ronan 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 '60s cut and another box set from the '70s.
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 Skarface record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharaoh Sanders and the Fire Engines,
The Gap Band,
Reuben Wilson,
Deepchord,
The Fuzztones,
Aaron Thompson,
Joyce Sims,
The Doors,
Kerrie Biddell,
Röyhkä ja Rättö ja Lehtisalo,
Sexual Harrassment,
Bobby Sherman,
Girls At Our Best!,
Funky Four + One,
Marc Almond,
Roger Hodgson,
The Moody Blues,
The Five Americans,
Orchestral Manoeuvres in the Dark,
Rakim,
The Smiths,
Sound Behaviour,
Boz Scaggs,
Underground Resistance,
The New Christs,
Ice-T,
Jeru the Damaja,
The Birthday Party,
Gabor Szabo,
Sun City Girls,
Carl Craig,
Mary Jane Girls,
CMW,
The Modern Lovers,
Camouflage,
Subhumans,
Delta 5,
Second Layer,
Anthony Braxton,
Kenny Larkin,
Black Bananas,
Bobby Womack,
The Vogues,
The Red Krayola,
Television Personalities,
Slave,
Siouxsie and the Banshees,
Goldenarms,
The Offenders,
cv313,
Roxy Music,
Soul Sonic Force,
Bad Manners,
Quadrant,
Eurythmics,
Deadbeat,
Gary Puckett & The Union Gap,
Eddi Front,
China Crisis,
Dennis Brown,
Big Daddy Kane,
Scion,
The Black Dice,
Patti Smith, Patti Smith, Patti Smith, Patti Smith.
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.