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 Kazakhstan and from Hong Kong.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the clarinet 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 Clear Light 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 Gary Puckett & The Union Gap. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Marshall Jefferson 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Arthur Verocai,
Gregory Isaacs,
The Buckinghams,
Eli Mardock,
Sight & Sound,
Terrestrial Tones,
David Axelrod,
Juan Atkins,
Outsiders,
Tears for Fears,
Albert Ayler,
Anakelly,
Fluxion,
Mandrill,
The Star Department,
Traffic Nightmare,
Grauzone,
The J.B.'s,
Shuggie Otis,
The Remains,
The Cramps,
London Community Gospel Choir,
Echo & the Bunnymen,
Bill Near,
Ash Ra Tempel,
Moss Icon,
The Names,
Roy Ayers Ubiquity,
Curtis Mayfield,
The Associates,
Pharoah Sanders,
Bobby Womack,
Franke,
Prince Buster,
Ronan,
Darondo,
Graham Central Station,
Morten Harket,
Joe Finger,
The Evens,
Groovy Waters,
Gang Starr,
Robert Görl,
Thinking Fellers Union Local 282,
Aaron Thompson,
The American Breed,
Byron Stingily,
Pagans,
Scratch Acid,
The Golliwogs,
kango's stein massive,
Arcadia,
Funky Four + One,
Metal Thangz,
The Kinks,
Rapeman,
Scott Walker + Sunn O))),
Peter and Kerry,
Connie Case,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.