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 Yemen and from Lille.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Manila and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 808 sounds with much patience.
I was there when David Bowie 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 Derrick May to the grime kids.
I played it at the Spitz.
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 Sight & Sound. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Average White Band 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Mr. Review,
The Barracudas,
Harpers Bizarre,
Bang On A Can,
Davy DMX,
Eli Mardock,
Quadrant,
Pere Ubu,
Television,
Bush Tetras,
Graham Central Station,
Warsaw,
Urselle,
Eurythmics,
New York Dolls,
Half Japanese,
Maleditus Sound,
David Axelrod,
Nation of Ulysses,
F. McDonald,
Bobby Womack,
Deutsch Amerikanische Freundschaft,
the Normal,
Nils Olav,
Cheater Slicks,
Outsiders,
Easy Going,
Sister Nancy,
Bobby Sherman,
Little Man,
Harry Pussy,
Ten City,
The Kinks,
Sonny Sharrock,
Altered Images,
David Bowie,
Jimmy McGriff,
T.S.O.L.,
Accadde A,
The Mighty Diamonds,
Tears for Fears,
Kaleidoscope,
Unwound,
the Fania All-Stars,
Qualms,
Marvin Gaye,
Electric Prunes,
The Peanut Butter Conspiracy,
Quando Quango,
The Beau Brummels,
Loose Ends,
Organ,
Bootsy's Rubber Band,
Hasil Adkins,
Amon Düül,
Glenn Branca,
Simply Red,
Barclay James Harvest,
Echo & the Bunnymen,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.