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 Bahamas and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1975.
I'm losing my edge.
To all the kids in Delhi and Jakarta.
I'm losing my edge to the art-school Mexico City 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Laurel Aitken to the jazz kids.
I played it at the Hacienda.
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 Todd Terry. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
Sun City Girls,
Derrick Morgan,
X-102,
The Golliwogs,
Alison Limerick,
Nick Fraelich,
Model 500,
The Five Americans,
Oppenheimer Analysis,
Sam Rivers,
Rotary Connection,
Brothers Johnson,
The J.B.'s,
Major Organ And The Adding Machine,
The Young Rascals,
The Sisters of Mercy,
Nick Cave & The Bad Seeds,
Fort Wilson Riot,
Gang Gang Dance,
Unrelated Segments,
Darondo,
Pylon,
DNA,
Neil Young & Crazy Horse,
E-Dancer,
Orchestral Manoeuvres in the Dark,
Cymande,
Outsiders,
Robert Hood,
F. McDonald,
New York Dolls,
Sixth Finger,
Siglo XX,
The Sound,
B.T. Express,
Patti Smith,
Mo-Dettes,
Aaron Thompson,
Joe Finger,
Chris Corsano,
Visage,
Ajijia Myrayebe,
Lungfish,
Mr. Review,
The American Breed,
Gabor Szabo,
Nirvana,
Ultramagnetic MC's,
The Fire Engines,
Bronski Beat,
Electric Light Orchestra,
Amon Düül,
Gary Puckett & The Union Gap,
Hasil Adkins,
Crime,
Sad Lovers and Giants,
Ultimate Spinach,
Bizarre Inc.,
Agitation Free,
Adolescents,
Radiopuhelimet, Radiopuhelimet, Radiopuhelimet, Radiopuhelimet.
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.