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 Macedonia and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Woodstock 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 marimba sounds with much patience.
I was there when Robert Palmer 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 Juan Atkins to the electroclash kids.
I played it at the Crocodile.
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 Bill Near. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every The Offenders 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 '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Public Enemy,
John Cale,
The Stooges,
JFA,
Half Japanese,
Eric B and Rakim,
Arthur Verocai,
Peter Gordon & Love of Life Orchestra,
Brass Construction,
Ten City,
Sarah Menescal,
Pylon,
Piero Umiliani,
Nils Olav,
Suburban Knight,
Jeff Mills,
Matthew Bourne,
Swans,
Davy DMX,
Donny Hathaway,
The Mojo Men,
Susan Cadogan,
Henry Cow,
The Gladiators,
Stockholm Monsters,
Roger Hodgson,
KRS-One,
Gian Franco Pienzio,
Brick,
Donald Byrd,
Easy Going,
the Normal,
Nas,
D'Angelo,
The Residents,
Pagans,
LL Cool J,
The Misunderstood,
Parry Music,
Hasil Adkins,
The New Christs,
Glambeats Corp.,
The Alarm Clocks,
Shuggie Otis,
Monks,
The Smiths,
The Gories,
Barrington Levy,
the Association,
David McCallum,
Janne Schatter,
Kurtis Blow,
Lou Christie,
Visage,
Deutsch Amerikanische Freundschaft,
Amazonics,
Negative Approach,
Cameo,
Wasted Youth,
Matthew Halsall,
10cc,
Second Layer,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.