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 Iran and from Salvador.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
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 1971 at the first Big Star practice in a loft in Memphis.
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 Brass Construction to the crunk kids.
I played it at the Hacienda.
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 Rhythm & Sound. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every Donald Byrd record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Avey Tare's Slasher Flicks,
Drexciya,
Ludus,
Aural Exciters,
The Chocolate Watch Band,
Blancmange,
Tears for Fears,
Minutemen,
The Pretty Things,
Mr. Review,
Black Flag,
the Fania All-Stars,
Joy Division,
Oppenheimer Analysis,
Nils Olav,
Bauhaus,
Intrusion,
Janne Schatter,
Swans,
Danielle Patucci,
Gang Green,
The Selecter,
Mission of Burma,
Talk Talk,
Lizzy Mercier Descloux,
JFA,
The Fall,
The Five Americans,
The J.B.'s,
Nick Cave & The Bad Seeds,
Agent Orange,
Radio Birdman,
Japan,
Fifty Foot Hose,
the Soft Cell,
Pussy Galore,
Lalann,
The New Christs,
Sad Lovers and Giants,
Nas,
Hardrive,
Throbbing Gristle,
Desert Stars,
Second Layer,
Pet Shop Boys,
Sun Ra Arkestra,
Index,
The Royal Family And The Poor,
Robert Wyatt,
It's A Beautiful Day,
The Mummies,
Accadde A,
Chris Corsano,
Connie Case,
Subhumans,
Lalo Schifrin,
DeepChord presents Echospace,
Jacques Brel,
The Jesus and Mary Chain,
The Kinks,
Main Source,
Jimmy McGriff,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.