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 Estonia and from Hong Kong.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Public Image Ltd. to the crunk 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 Dorothy Ashby. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal grime 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Bobby Hutcherson,
Icehouse,
Groovy Waters,
Gil Scott-Heron & Brian Jackson,
Barry Ungar,
E-Dancer,
The Star Department,
Marc Romboy vs. Booka Shade,
John Holt,
Justin Hinds & The Dominoes,
Deepchord,
The Techniques,
One Last Wish,
Avey Tare,
Magma,
Mandrill,
Ornette Coleman,
The Modern Lovers,
The Cure,
Bobby Byrd,
Roy Ayers Ubiquity,
The Chocolate Watch Band,
The Knickerbockers,
Mars,
Fela Kuti,
Unrelated Segments,
Oppenheimer Analysis,
Second Layer,
H. Thieme,
AZ,
Rahsaan Roland Kirk,
Camron Feat. Jay Z And Juelz,
Charles Mingus,
Sonny Sharrock,
It's A Beautiful Day,
Skarface,
Malaria!,
Notorious Big And Bone Thugs,
Angels of Light & Akron/Family,
The Sisters of Mercy,
A Certain Ratio,
The Divine Comedy,
Panda Bear,
Ice-T,
Barrington Levy,
Rakim,
Eden Ahbez,
Pet Shop Boys,
The Moody Blues,
The Stooges,
Kool G Rap & DJ Polo,
Mission of Burma,
Popol Vuh,
Loose Ends,
The Names,
MDC,
Bauhaus,
Lonnie Liston Smith,
The Vogues,
Sunsets and Hearts,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.