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 Comoros and from Houston.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1978.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 LL Cool J to the rap kids.
I played it at the Astoria.
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 Ultravox. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every La Düsseldorf record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Marcia Griffiths,
Ten City,
The Move,
Au Pairs,
Matthew Halsall,
Smog,
Harry Pussy,
Kool G Rap & DJ Polo,
Eve St. Jones,
The Names,
Marine Girls,
The Durutti Column,
The Gories,
Neu!,
Kurtis Blow,
Intrusion,
Scott Walker + Sunn O))),
The Slackers,
Don Cherry,
Guru Guru,
Blossom Toes,
The Fuzztones,
Monks,
Drive Like Jehu,
John Lydon,
Can,
Echo & the Bunnymen,
Nick Cave & The Bad Seeds,
The Mighty Diamonds,
Malaria!,
Blake Baxter,
Make Up,
Absolute Body Control,
Al Stewart,
Barbara Tucker,
Jacob Miller,
Lyres,
T.S.O.L.,
The Blackbyrds,
Popol Vuh,
Kool Moe Dee,
The Saints,
Easy Going,
Robert Wyatt,
In Retrospect,
Graham Central Station,
Depeche Mode,
Black Bananas,
Fluxion,
Bronski Beat,
Fat Boys,
Shoche,
Ice-T,
World's Most,
The Techniques,
Mark Hollis,
Jesper Dahlbäck,
Bill Wells,
Sexual Harrassment,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.