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 France and from Cairo.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Milan and Manchester.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator 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 Radiohead to the grime 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 FM Einheit. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Youth Brigade 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 '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
This Heat,
Curtis Mayfield,
Camberwell Now,
Maleditus Sound,
The Peanut Butter Conspiracy,
Bad Manners,
Oppenheimer Analysis,
Theoretical Girls,
Stereo Dub,
Excepter,
Bluetip,
Organ,
Youth Brigade,
Althea and Donna,
Sun Ra,
KRS-One,
Oneida,
Art Ensemble Of Chicago,
Funkadelic,
Isaac Hayes,
The Fugs,
Vaughan Mason & Crew,
The Smiths,
Roxette,
Brothers Johnson,
a-ha,
Nik Kershaw,
Dual Sessions,
Lou Reed & Metallica,
Girls At Our Best!,
Minor Threat,
Derrick Morgan,
Swans,
Nick Cave & The Bad Seeds,
Heaven 17,
Supertramp,
Eric Copeland,
L. Decosne,
The Red Krayola,
Juan Atkins,
Jesper Dahlbäck,
The Pop Group,
Arab on Radar,
Crash Course in Science,
Jeff Lynne,
Donny Hathaway,
Sad Lovers and Giants,
Lightning Bolt,
Kurtis Blow,
The West Coast Pop Art Experimental Band,
Delon & Dalcan,
Pharaoh Sanders and the Fire Engines,
Marine Girls,
Adolescents,
Orchestral Manoeuvres in the Dark,
Peter Gordon & Love of Life Orchestra,
Whodini,
Negative Approach,
Robert Wyatt,
Gil Scott-Heron & Brian Jackson,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.