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 Kuwait and from Houston.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Edmonton 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 oboe 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 The Martian to the rap 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 Absolute Body Control. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Interpol record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Moby Grape,
Wolf Eyes,
Neil Young & Crazy Horse,
Grandmaster Flash and the Furious Five,
Funky Four + One,
Basic Channel,
The Monks,
Bang On A Can,
Fela Kuti,
Donald Byrd,
Vainqueur,
The Residents,
Con Funk Shun,
Tears for Fears,
Nas,
the Bar-Kays,
Kenny Larkin,
Gerry Rafferty,
EPMD,
Bill Wells,
The Sound,
Metal Thangz,
The Zeros,
T. Rex,
Dawn Penn,
Sun Ra Arkestra,
Agent Orange,
Nick Cave & The Bad Seeds,
Rekid,
LL Cool J,
Visage,
Ornette Coleman,
Scan 7,
Ossler,
Camouflage,
The Index,
Larry & the Blue Notes,
Reagan Youth,
Minnie Riperton,
Boogie Down Productions,
Faraquet,
Dorothy Ashby,
The Music Machine,
Kool G Rap & DJ Polo,
Drive Like Jehu,
Al Stewart,
Dual Sessions,
The Remains,
Trumans Water,
Brass Construction,
Loose Ends,
Wire,
The Real Kids,
Bauhaus,
Pylon,
Newcleus,
Gang Green,
Motorama,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.