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 Andorra and from Tokyo.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Manchester 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 theremin 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 Jacob Miller to the rap 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 Scott Walker. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Ituana record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock 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?
The Gun Club,
Harmonia,
Hashim,
Franke,
Eurythmics,
Gichy Dan,
Marshall Jefferson,
The Blackbyrds,
Kaleidoscope,
Super Lover Cee & Casanova Rud,
Aswad,
Visage,
Eric Dolphy,
Darondo,
Byron Stingily,
Suburban Knight,
Dark Day,
The Names,
Roxette,
Reagan Youth,
Stereo Dub,
Black Pus,
The United States of America,
The Flesh Eaters,
Johnny Clarke,
Mr. Review,
A Certain Ratio,
Zapp,
Cluster,
Yellowson,
Mary Jane Girls,
Colin Newman,
Wally Richardson,
Barry Ungar,
Royal Trux,
Lou Reed & Metallica,
The Barracudas,
Big Daddy Kane,
Camron Feat. Memphis Bleek And Beenie Seigel,
Brick,
DeepChord presents Echospace,
Black Bananas,
Goldenarms,
Sällskapet,
Bobby Byrd,
The Leaves,
Half Japanese,
The Golliwogs,
Harpers Bizarre,
Lungfish,
Davy DMX,
Vainqueur,
Sexual Harrassment,
London Community Gospel Choir,
Eric Copeland,
Soulsonic Force,
Depeche Mode,
Monolake, Monolake, Monolake, Monolake.
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.