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 Antigua and from Philadelphia.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Glasgow 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 The Birthday Party 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 Hardrive. All the underground hits.
All Justin Hinds & The Dominoes tracks. I heard you have a vinyl of every The Fuzztones 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül 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?
Curtis Mayfield,
The Fuzztones,
Kango’s Stein Massive,
ABBA,
Marshall Jefferson,
The Gap Band,
Josef K,
The Standells,
Heaven 17,
Pharoah Sanders,
Thee Headcoats,
The Remains,
Banda Bassotti,
Spandau Ballet,
This Heat,
EPMD,
New Order,
Boz Scaggs,
Deepchord,
Teenage Jesus and the Jerks,
The Real Kids,
Moebius,
Bobby Byrd,
Eurythmics,
CMW,
The Mighty Diamonds,
Cecil Taylor,
Nick Fraelich,
The Associates,
One Last Wish,
Jacob Miller,
Kool G Rap & DJ Polo,
Dorothy Ashby,
the Human League,
Liliput,
Mad Mike,
In Retrospect,
Bobby Hutcherson,
Newcleus,
Severed Heads,
Kerri Chandler,
Cheater Slicks,
Pagans,
Desert Stars,
Avey Tare,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gun Club,
Gerry Rafferty,
Rahsaan Roland Kirk,
Terry Callier,
Arthur Verocai,
New York Dolls,
World's Most,
Gil Scott-Heron and Jamie xx,
Stetsasonic,
Susan Cadogan,
Cymande,
Second Layer,
Zero Boys,
Henry Cow,
X-101, X-101, X-101, X-101.
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.