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 Argentina and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school New York 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Saints to the techno kids.
I played it at the 40 Watt.
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 Half Japanese. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rekid,
Spoonie Gee,
The Men They Couldn't Hang,
Juan Atkins,
Freddie Wadling,
The Cosmic Jokers,
KRS-One,
Pussy Galore,
James Chance & The Contortions,
Gabor Szabo,
Moss Icon,
Archie Shepp,
The Remains,
Marc Almond,
Bobbi Humphrey,
Jeff Mills,
E-Dancer,
The Fuzztones,
Jeru the Damaja,
Soft Machine,
Johnny Clarke,
Letta Mbulu,
Graham Central Station,
The Selecter,
The Royal Family And The Poor,
Eve St. Jones,
Masters at Work,
Mark Hollis,
Chris & Cosey,
The West Coast Pop Art Experimental Band,
Joe Finger,
Deakin,
Fatback Band,
ABC,
Average White Band,
Lucky Dragons,
Louis and Bebe Barron,
In Retrospect,
B.T. Express,
Fugazi,
Pagans,
The Gladiators,
The Mojo Men,
Donald Byrd,
Leonard Cohen,
Susan Cadogan,
Sonny Sharrock,
The Fire Engines,
The Smoke,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bluetip,
Michelle Simonal,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Reed,
Kas Product,
Vaughan Mason & Crew,
Gang Green,
Panda Bear,
Absolute Body Control,
Darondo,
Rahsaan Roland Kirk,
Dead Boys,
Youth Brigade,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.