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 Tonga and from Edmonton.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Paris and Sao Paulo.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the güiro 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 Eric Dolphy to the dance kids.
I played it at Trash.
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 Minnie Riperton. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Marc Romboy vs. Booka Shade 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Jawbox,
Harpers Bizarre,
Terrestrial Tones,
Pete Rock & C.L. Smooth,
Franke,
Basic Channel,
Jesper Dahlbäck,
Roy Ayers,
Wally Richardson,
Procol Harum,
Eric Copeland,
Au Pairs,
The United States of America,
Gabor Szabo,
Mark Hollis,
MC5,
the Association,
Das Ding,
Leonard Cohen,
The Neon Judgement,
Swell Maps,
John Coltrane,
Fifty Foot Hose,
Lower 48,
World's Most,
Absolute Body Control,
Black Bananas,
Motorama,
Groovy Waters,
The Dead C,
Isaac Hayes,
Sun Ra,
Matthew Bourne,
Reagan Youth,
Interpol,
Warren Ellis,
The Barracudas,
Max Romeo,
Minnie Riperton,
Notorious BIG live in Amsterdam,
the Human League,
London Community Gospel Choir,
Dennis Brown,
Hasil Adkins,
EPMD,
Boogie Down Productions,
Moby Grape,
Pussy Galore,
The Pop Group,
The J.B.'s,
Dorothy Ashby,
Joy Division,
The Slits,
Sexual Harrassment,
Erasure,
Con Funk Shun,
The Techniques,
Pharaoh Sanders and the Fire Engines,
The Dirtbombs,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.