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 Suriname and from Stockholm.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Columbus and Sao Paulo.
I'm losing my edge to the art-school Tehran 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Erasure to the grunge 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 Marshall Jefferson. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Josef K,
Gian Franco Pienzio,
MC5,
Barclay James Harvest,
Bobbi Humphrey,
The Mojo Men,
Robert Hood,
Rotary Connection,
Buzzcocks,
Joe Finger,
The Gun Club,
Crispian St. Peters,
Eyeless In Gaza,
The Happenings,
Notorious BIG live in Amsterdam,
Teenage Jesus and the Jerks,
Slave,
The Chocolate Watch Band,
Jesper Dahlbäck,
Anthony Braxton,
Supertramp,
Agent Orange,
Public Image Ltd.,
Erykah Badu,
Lower 48,
Outsiders,
Terry Callier,
The Velvet Underground,
Sandy B,
Dead Boys,
Carl Craig,
X-101,
Aural Exciters,
Bush Tetras,
Toni Rubio,
Major Organ And The Adding Machine,
Gong,
Cluster,
Röyhkä ja Rättö ja Lehtisalo,
Deadbeat,
Khruangbin,
Electric Light Orchestra,
Shoche,
Bluetip,
Minny Pops,
The Last Poets,
Boz Scaggs,
Lalo Schifrin,
Grauzone,
Deutsch Amerikanische Freundschaft,
Chrome,
Fat Boys,
The Red Krayola,
Q65,
Peter Gordon & Love of Life Orchestra,
New York Dolls,
Brothers Johnson,
the Germs,
Junior Murvin,
The Move,
Jeru the Damaja,
The Shadows of Knight,
ABBA, ABBA, ABBA, ABBA.
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.