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 Jamaica and from Lille.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when David Bowie 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 Smiths to the dance kids.
I played it at CBGB's.
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 Marine Girls. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every cv313 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 '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
The Invisible,
The Busters,
T.S.O.L.,
Andrew Ashong & Theo Parrish,
Girls At Our Best!,
Prince Buster,
The Golliwogs,
Manfred Mann's Earth Band,
B.T. Express,
Can,
Youth Brigade,
Theoretical Girls,
Sonny Sharrock,
Shoche,
Lakeside,
Matthew Bourne,
Quantec,
Derrick May,
Pussy Galore,
Pagans,
Soul Sonic Force,
Whodini,
Delon & Dalcan,
Kerri Chandler,
Bill Wells,
Fluxion,
Kool G Rap & DJ Polo,
Funky Four + One,
Todd Rundgren,
Young Marble Giants,
The Moody Blues,
DJ Style,
Brass Construction,
Slick Rick,
Q and Not U,
Faust,
Louis and Bebe Barron,
Gregory Isaacs,
Magma,
Bobby Sherman,
Negative Approach,
Joyce Sims,
Royal Trux,
Wasted Youth,
Jandek,
Aaron Thompson,
Absolute Body Control,
Crash Course in Science,
Scratch Acid,
K-Klass,
Little Man,
8 Eyed Spy,
The Trojans,
Avey Tare & Kría Brekkan,
Lungfish,
Dead Boys,
Rekid, Rekid, Rekid, Rekid.
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.