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 the UAE and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Houston 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 Michael McDonald 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 Aural Exciters to the funk kids.
I played it at the Spitz.
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 Jesper Dahlback. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
Arab on Radar,
Interpol,
Quantec,
Roxy Music,
Harry Pussy,
Deakin,
The Cramps,
Von Mondo,
Angels of Light & Akron/Family,
Anakelly,
CMW,
Infiniti,
Quando Quango,
Mars,
Subhumans,
Janne Schatter,
Absolute Body Control,
Fear,
Lebanon Hanover,
Vladislav Delay,
Sun City Girls,
Barbara Tucker,
Minor Threat,
Television Personalities,
Sexual Harrassment,
Lee Hazlewood,
Pantytec,
Terror Squad Feat. Camron,
Cheater Slicks,
Andrew Ashong & Theo Parrish,
Japan,
Visionaries,LMNO, T- Love & Iriscience,
The Flesh Eaters,
Con Funk Shun,
The Five Americans,
Visage,
The Blackbyrds,
Letta Mbulu,
Pussy Galore,
Bootsy's Rubber Band,
John Cale,
Q and Not U,
Franke,
John Holt,
Vaughan Mason & Crew,
Gregory Isaacs,
KRS-One,
Symarip,
The Mojo Men,
Grey Daturas,
De La Soul & Jungle Brothers,
Howard Jones,
Orchestral Manoeuvres in the Dark,
Public Image Ltd.,
Spandau Ballet,
Massinfluence,
Roy Ayers Ubiquity,
Brothers Johnson,
Tropical Tobacco,
Sound Behaviour,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.