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 Netherlands and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1972.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Mumbai 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Quantec to the disco 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 Essential Logic. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
John Coltrane,
Fat Boys,
Scientists,
The Moleskins,
The United States of America,
Bob Dylan,
Zero Boys,
Gerry Rafferty,
Public Image Ltd.,
Dave Gahan,
Roy Ayers Ubiquity,
Dawn Penn,
Rites of Spring,
DeepChord presents Echospace,
Sister Nancy,
Bobby Byrd,
Max Romeo,
Circle Jerks,
Lyres,
The Slackers,
Dual Sessions,
Deadbeat,
Barbara Tucker,
Aswad,
U.S. Maple,
Sight & Sound,
Peter Gordon & Love of Life Orchestra,
Roy Ayers,
Warsaw,
Buzzcocks,
The Busters,
Freddie Wadling,
Idris Muhammad,
Pierre Henry,
Hoover,
Albert Ayler,
The Evens,
Dark Day,
Sam Rivers,
Juan Atkins,
Kerrie Biddell,
Crooked Eye,
Bootsy's Rubber Band,
Tres Demented,
David Axelrod,
Yazoo,
Hasil Adkins,
Ice-T,
Rhythm & Sound,
Skriet,
One Last Wish,
Radio Birdman,
Absolute Body Control,
Pharaoh Sanders and the Fire Engines,
Avey Tare & Kría Brekkan,
Harpers Bizarre,
Throbbing Gristle,
Ash Ra Tempel,
Oneida,
The Gap Band,
Minny Pops,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.