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 Luxembourg and from Salvador.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Salvador 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the harpsichord 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 Negative Approach to the rap kids.
I played it at the Crocodile.
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 Royal Family And The Poor. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Prince Buster 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Main Source,
The Human League,
E-Dancer,
Hoover,
Cameo,
Joensuu 1685,
Scrapy,
Drive Like Jehu,
Teenage Jesus and the Jerks,
The Doors,
Barclay James Harvest,
Slick Rick,
Vainqueur,
Morten Harket,
Sight & Sound,
Yaz,
The Chocolate Watch Band,
Deepchord,
Monolake,
The Divine Comedy,
Peter and Kerry,
Oneida,
Excepter,
Little Man,
Terrestrial Tones,
Qualms,
Blossom Toes,
Sun City Girls,
Dual Sessions,
Chris & Cosey,
Scan 7,
The Victims,
Rakim,
The Techniques,
Gil Scott-Heron and Jamie xx,
Echo & the Bunnymen,
The American Breed,
UT,
Boogie Down Productions,
Minor Threat,
Ten City,
Drexciya,
DJ Style,
Amon Düül,
Skarface,
David McCallum,
Section 25,
Yellowson,
Eric Copeland,
Angry Samoans,
The Star Department,
Alphaville,
Marine Girls,
Basic Channel,
Lee Hazlewood,
The Sound,
Hardrive,
Ituana,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.