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 Ecuador and from Manchester.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Tokyo 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 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 Tubeway Army to the funk 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 Leonard Cohen. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Sam Rivers,
Pylon,
Lou Christie,
Ten City,
Echo & the Bunnymen,
Q and Not U,
Laurel Aitken,
Louis and Bebe Barron,
Boz Scaggs,
Todd Terry,
Strawberry Alarm Clock,
The Velvet Underground,
Barry Ungar,
Crispy Ambulance,
Tubeway Army,
Tom Boy,
Urselle,
Sarah Menescal,
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
Minnie Riperton,
The Remains,
The Associates,
Angels of Light & Akron/Family,
the Soft Cell,
Wire,
Rhythm & Sound,
Darondo,
David Bowie,
Connie Case,
New Age Steppers,
Mars,
Fluxion,
Public Enemy,
Alison Limerick,
Howard Jones,
Masters at Work,
Patti Smith,
Mo-Dettes,
Bronski Beat,
Marshall Jefferson,
Dennis Brown,
Thee Headcoats,
Gang Green,
Piero Umiliani,
Royal Trux,
The Offenders,
Von Mondo,
Nas,
Roxette,
Japan,
Young Marble Giants,
Black Flag,
Teenage Jesus and the Jerks,
The Smiths,
Oneida,
Larry & the Blue Notes,
Skaos,
Faust,
the Slits,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.