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 St Lucia and from Lyon.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Remains to the punk kids.
I played it at the Astoria.
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 The Martian. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Niagra 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 '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Public Enemy,
The Gap Band,
Alison Limerick,
U.S. Maple,
Manfred Mann's Earth Band,
Jawbox,
Heaven 17,
Sugar Minott,
Althea and Donna,
Derrick May,
Glambeats Corp.,
Depeche Mode,
Matthew Halsall,
The Beau Brummels,
Marmalade,
The Peanut Butter Conspiracy,
Jesper Dahlbäck,
Lakeside,
Absolute Body Control,
Lalo Schifrin,
Gang Green,
The Martian,
The Dead C,
Skarface,
Boogie Down Productions,
The Velvet Underground,
The Monochrome Set,
Von Mondo,
Jesper Dahlback,
Charles Mingus,
Sparks,
Malaria!,
Avey Tare,
E-Dancer,
June of 44,
The Moleskins,
The Fire Engines,
The Alarm Clocks,
Rapeman,
Black Pus,
Loose Ends,
Essential Logic,
Dennis Brown,
Schoolly D,
Nirvana,
Pole,
Liliput,
Dorothy Ashby,
Mr. Review,
The Birthday Party,
Rowland S Howard / Lydia Lunch,
Yaz,
ABBA,
the Human League,
Flash Fearless,
Rhythim Is Rhythim,
PIL,
Technova,
Camouflage,
Ronnie Foster,
B.T. Express,
Grey Daturas,
DJ Style, DJ Style, DJ Style, DJ Style.
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.