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 Burundi and from Paris.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Paris 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 oboe 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 Bobby Byrd to the punk kids.
I played it at the Hacienda.
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 Agent Orange. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Boz Scaggs 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 '80s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
The Move,
The Buckinghams,
DJ Style,
Donny Hathaway,
Mary Jane Girls,
Rosa Yemen,
Aural Exciters,
Newcleus,
a-ha,
Lee Hazlewood,
Avey Tare's Slasher Flicks,
James White and The Blacks,
Young Marble Giants,
La Düsseldorf,
Camberwell Now,
Eurythmics,
The Offenders,
Interpol,
The Monochrome Set,
Warren Ellis,
Yellowson,
Wally Richardson,
Marc Almond,
The Peanut Butter Conspiracy,
Hardrive,
Talk Talk,
Sonny Sharrock,
The Zeros,
the Sonics,
Joe Finger,
Joey Negro,
Drive Like Jehu,
Rufus Thomas,
Absolute Body Control,
De La Soul & Jungle Brothers,
Moby Grape,
Procol Harum,
The Moody Blues,
Maurizio,
the Swans,
Joe Smooth,
Aswad,
Lonnie Liston Smith,
Big Daddy Kane,
Nas,
Lou Christie,
Soulsonic Force,
Second Layer,
Harry Pussy,
Chris & Cosey,
Matthew Halsall,
The Sisters of Mercy,
Cameo,
Gabor Szabo,
Teenage Jesus and the Jerks,
Judy Mowatt,
Marc Romboy vs. Booka Shade,
Public Image Ltd.,
Kerrie Biddell,
Bang On A Can,
Henry Cow,
David Axelrod,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.