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 Turkmenistan and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Lille 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Bluetip to the grunge 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 Clear Light. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Fall,
The Tremeloes,
Echospace,
Cluster,
the Soft Cell,
The Residents,
Yazoo,
Hoover,
Gang Green,
Altered Images,
Johnny Clarke,
The Dave Clark Five,
Sound Behaviour,
Reuben Wilson,
Circle Jerks,
Gang Gang Dance,
This Heat,
Chris Corsano,
Black Sheep,
Mo-Dettes,
Visionaries,LMNO, T- Love & Iriscience,
Los Fastidios,
Desert Stars,
Underground Resistance,
Sly & The Family Stone,
Big Daddy Kane,
The Gap Band,
Aaron Thompson,
ABBA,
Severed Heads,
Pete Rock & C.L. Smooth,
Richard Hell and the Voidoids,
DNA,
Soul Sonic Force,
Sugar Minott,
Quadrant,
The Standells,
The Beau Brummels,
The Mojo Men,
Kerrie Biddell,
These Immortal Souls,
DeepChord presents Echospace,
Albert Ayler,
Terry Callier,
Siouxsie and the Banshees,
Al Stewart,
Maleditus Sound,
Notorious BIG live in Amsterdam,
Quantec,
The Slits,
Absolute Body Control,
Radiopuhelimet,
Steve Hackett,
Ornette Coleman,
Eli Mardock,
Brothers Johnson,
The Smoke,
Lou Reed,
Spandau Ballet,
Newcleus, Newcleus, Newcleus, Newcleus.
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.