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 Cambodia and from Sao Paulo.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar 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 Pantaleimon to the grime 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 Lalo Schifrin. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Sight & Sound record on German import.
I heard that you have a white label of every seminal grime 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Minnie Riperton,
Gabor Szabo,
Roy Ayers Ubiquity,
Jerry Gold Smith,
Tom Boy,
Kurtis Blow,
The Smoke,
10cc,
Eve St. Jones,
Echo & the Bunnymen,
Wally Richardson,
Magazine,
Lalo Schifrin,
Oneida,
Von Mondo,
Zero Boys,
Spoonie Gee,
John Cale,
Sight & Sound,
Harpers Bizarre,
the Slits,
New Order,
Nas,
DNA,
Freddie Wadling,
Whodini,
Sixth Finger,
The Smiths,
Con Funk Shun,
ABBA,
Kauko Röyhkä ja Narttu,
Deakin,
Marc Almond,
Rhythm & Sound,
Q65,
Masters at Work,
Gang Gang Dance,
Dawn Penn,
FM Einheit,
Scientists,
Bang on a Can All-Stars,
Anthony Braxton,
Faust,
The Grass Roots,
Skriet,
Grandmaster Flash,
Notorious Big And Bone Thugs,
Sarah Menescal,
Dr. Dre and Snoop Doggy Dog,
Siglo XX,
Main Source,
Lalann,
A Certain Ratio,
Sonny Sharrock,
Terror Squad Feat. Camron,
Arab on Radar,
Pylon,
Cameo,
Lou Reed & John Cale,
Toni Rubio,
Josef K,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.