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 Suriname and from Salvador.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1967 to 1976.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school New York 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 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 Carl Craig to the grunge kids.
I played it at the Roxy.
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 Fortunes. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Rhythm & Sound record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
DJ Sneak,
Wasted Youth,
Flash Fearless,
Blancmange,
Skaos,
Black Moon,
The Misunderstood,
Kaleidoscope,
Jawbox,
Bill Near,
The Fire Engines,
Harmonia,
Adolescents,
Eli Mardock,
Model 500,
Visionaries,LMNO, T- Love & Iriscience,
Neil Young,
Amazonics,
Supertramp,
Au Pairs,
Stockholm Monsters,
The Motions,
Kas Product,
Pagans,
Morten Harket,
The Residents,
The West Coast Pop Art Experimental Band,
Joey Negro,
Ossler,
The Leaves,
Lizzy Mercier Descloux,
Hot Snakes,
Audionom,
Popol Vuh,
Masters at Work,
The Beau Brummels,
ABC,
Sonny Sharrock,
Idris Muhammad,
Tears for Fears,
Fat Boys,
The Smoke,
Ash Ra Tempel,
The Gun Club,
DJ Style,
Average White Band,
Eyeless In Gaza,
New Order,
Blossom Toes,
Jacques Brel,
Grandmaster Flash and the Furious Five,
H. Thieme,
Liliput,
Gian Franco Pienzio,
Brand Nubian,
The Real Kids,
Spandau Ballet,
Ornette Coleman,
Orchestral Manoeuvres in the Dark,
Bobby Sherman,
Youth Brigade, Youth Brigade, Youth Brigade, Youth Brigade.
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.