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 Papua New Guinea and from Manchester.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Madrid 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 1979 at the first Josef K practice in a loft in Edinburgh.
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 Art Ensemble Of Chicago to the funk 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 Marcia Griffiths. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Spandau Ballet,
The Standells,
Joe Smooth,
Delon & Dalcan,
Mark Hollis,
Blake Baxter,
Scan 7,
Junior Murvin,
Barry Ungar,
Curtis Mayfield,
Art Ensemble Of Chicago,
Unrelated Segments,
The Pretty Things,
The Leaves,
Hashim,
Dead Boys,
Bluetip,
The Searchers,
Theoretical Girls,
Bill Near,
Davy DMX,
Andrew Ashong & Theo Parrish,
The Music Machine,
Siouxsie and the Banshees,
Joyce Sims,
H. Thieme,
Swell Maps,
B.T. Express,
Ornette Coleman,
Sam Rivers,
The Dave Clark Five,
Circle Jerks,
Nils Olav,
Donny Hathaway,
Public Enemy,
Pete Rock & C.L. Smooth,
Richard Hell and the Voidoids,
Pulsallama,
Sonny Sharrock,
Scratch Acid,
Gastr Del Sol,
New Order,
Jeff Lynne,
Alice Coltrane,
Johnny Clarke,
Bootsy Collins,
Wasted Youth,
Newcleus,
DNA,
the Bar-Kays,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skaos,
Yellowson,
La Düsseldorf,
John Holt,
Lower 48,
Second Layer,
Country Teasers,
The Monochrome Set,
Connie Case,
Eddi Front,
Quantec,
Gil Scott-Heron and Jamie xx,
China Crisis, China Crisis, China Crisis, China Crisis.
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.