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 Iraq and from Portland.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Paris and Stockholm.
I'm losing my edge to the art-school Jakarta 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 harpsichord 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 The Pretty Things to the electroclash kids.
I played it at the Troubador.
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 Rahsaan Roland Kirk. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Deepchord,
Sparks,
Bad Manners,
Warsaw,
Panda Bear,
The Velvet Underground,
Lebanon Hanover,
Connie Case,
Amon Düül II,
Juan Atkins,
B.T. Express,
The Victims,
Gabor Szabo,
Andrew Ashong & Theo Parrish,
Oneida,
Fear,
Bootsy Collins,
PIL,
Khruangbin,
Section 25,
Notorious Big And Bone Thugs,
T. Rex,
The Busters,
The Real Kids,
Barry Ungar,
Fat Boys,
Henry Cow,
Judy Mowatt,
Cabaret Voltaire,
Dark Day,
Hoover,
Ponytail,
Monolake,
Maurizio,
Talk Talk,
The Leaves,
Glambeats Corp.,
Robert Wyatt,
Louis and Bebe Barron,
Teenage Jesus and the Jerks,
Archie Shepp,
Yaz,
Easy Going,
Arthur Verocai,
Alice Coltrane,
Negative Approach,
Jesper Dahlback,
Nils Olav,
Adolescents,
The Tremeloes,
the Soft Cell,
Unwound,
The Doobie Brothers,
Terry Callier,
Andrew Hill,
MDC,
Ultra Naté,
Grauzone,
The Skatalites,
Supertramp,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.