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 Rwanda and from Sao Paulo.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Tehran.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar 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 The Remains to the disco kids.
I played it at the Roxy.
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 Sonny Sharrock. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal grunge 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 mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Minny Pops,
Hasil Adkins,
Soul II Soul,
John Lydon,
Ken Boothe,
R.M.O.,
Manfred Mann's Earth Band,
Barclay James Harvest,
Sun City Girls,
Ornette Coleman,
Eurythmics,
Spandau Ballet,
Idris Muhammad,
Black Flag,
Lou Reed,
Man Eating Sloth,
Barrington Levy,
48th St. Collective,
Model 500,
Bobby Hutcherson,
Cluster,
Electric Prunes,
Traffic Nightmare,
Gerry Rafferty,
Tommy Roe,
Bill Wells,
Gang Green,
Tres Demented,
The Stooges,
The Moody Blues,
Terror Squad Feat. Camron,
Ultravox,
Magazine,
Girls At Our Best!,
Oneida,
Rod Modell,
Oppenheimer Analysis,
Marcia Griffiths,
The American Breed,
Soulsonic Force,
Marc Romboy vs. Booka Shade,
Wolf Eyes,
Peter and Kerry,
The Tremeloes,
Royal Trux,
The Doobie Brothers,
Major Organ And The Adding Machine,
Red Lorry Yellow Lorry,
Notorious BIG live in Amsterdam,
Suburban Knight,
Funkadelic,
Don Cherry,
Dawn Penn,
The Techniques,
The Smiths,
Franke,
Grandmaster Flash and the Furious Five,
L. Decosne,
Hot Snakes,
Symarip,
Josef K,
Gang Starr,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.