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 Romania and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Lille and Glasgow.
I'm losing my edge to the art-school Manchester 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 snare 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 New Christs to the dance 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 Hasil Adkins. All the underground hits.
All Angels of Light & Akron/Family tracks. I heard you have a vinyl of every Gian Franco Pienzio 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
The Leaves,
cv313,
Soul II Soul,
Cluster,
JFA,
Toni Rubio,
Richard Hell and the Voidoids,
the Association,
Grandmaster Flash and the Furious Five,
Mark Hollis,
The Cramps,
Public Enemy,
The Pop Group,
L. Decosne,
Jeff Lynne,
Bobbi Humphrey,
KRS-One,
Schoolly D,
The American Breed,
Yaz,
H. Thieme,
Wally Richardson,
Warren Ellis,
Dorothy Ashby,
Essential Logic,
Kango’s Stein Massive,
Robert Hood,
Shuggie Otis,
The Divine Comedy,
Godley & Creme,
Sugar Minott,
The Slits,
Pole,
Lonnie Liston Smith,
Alison Limerick,
Derrick Morgan,
Fear,
The Gap Band,
Dark Day,
Circle Jerks,
the Normal,
Bang On A Can,
Lalo Schifrin,
The Young Rascals,
The Gories,
UT,
Bobby Hutcherson,
8 Eyed Spy,
Junior Murvin,
Gil Scott Heron,
Das Ding,
Kaleidoscope,
Ronan,
Bronski Beat,
Saccharine Trust,
Alton Ellis,
The Stooges,
Maleditus Sound,
Jawbox,
The Golliwogs,
Faust,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.