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 United States and from Toronto.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Madrid 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 808 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 Spandau Ballet to the techno kids.
I played it at the Crocodile.
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 The Sound. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every The Seeds 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
Amazonics,
Hashim,
The Chocolate Watch Band,
The J.B.'s,
B.T. Express,
John Lydon,
Arcadia,
The Walker Brothers,
Danielle Patucci,
The Monochrome Set,
The Doobie Brothers,
World's Most,
Sam Rivers,
Section 25,
Panda Bear,
Kurtis Blow,
Interpol,
Röyhkä ja Rättö ja Lehtisalo,
Cluster,
Echo & the Bunnymen,
Black Pus,
Soft Cell,
Louis and Bebe Barron,
Thee Headcoats,
Warren Ellis,
Whodini,
The Victims,
Visage,
Vainqueur,
Khruangbin,
Funkadelic,
The Mighty Diamonds,
Ultimate Spinach,
Sandy B,
Sun City Girls,
Bootsy's Rubber Band,
Sixth Finger,
Eurythmics,
Sarah Menescal,
The Cure,
Delta 5,
Procol Harum,
New York Dolls,
Sight & Sound,
Kayak,
Nils Olav,
The West Coast Pop Art Experimental Band,
Johnny Clarke,
Bob Dylan,
Jimmy McGriff,
Vladislav Delay,
The Flesh Eaters,
Wire,
Trumans Water,
Radiohead,
Larry & the Blue Notes,
Bobby Hutcherson,
Lungfish,
Pet Shop Boys,
Second Layer,
Supertramp, Supertramp, Supertramp, Supertramp.
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.