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 Portugal and from Houston.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 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 Deadbeat to the electroclash kids.
I played it at Cafe Wha.
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 Animal Collective. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Joyce Sims record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
Interpol,
Rufus Thomas,
KRS-One,
Rahsaan Roland Kirk,
Prince Buster,
Ludus,
Easy Going,
The Mojo Men,
Spandau Ballet,
Rhythim Is Rhythim,
Johnny Osbourne,
Justin Hinds & The Dominoes,
These Immortal Souls,
Bob Dylan,
EPMD,
Eddi Front,
Siglo XX,
Moss Icon,
Tears for Fears,
Danielle Patucci,
Duran Duran,
The Velvet Underground,
Visage,
Oneida,
Unwound,
Brothers Johnson,
Ituana,
The Techniques,
Circle Jerks,
Brass Construction,
Alton Ellis,
Blake Baxter,
Mantronix,
Drive Like Jehu,
the Slits,
Alice Coltrane,
Tom Boy,
Kango’s Stein Massive,
Pylon,
Lou Reed,
Marc Romboy vs. Booka Shade,
Selector Dub Narcotic,
Wighnomy Brothers & Robag Wruhme,
The Tremeloes,
Jacob Miller,
Pussy Galore,
Gong,
Flash Fearless,
The Raincoats,
Minutemen,
Derrick May,
Todd Terry,
Ajijia Myrayebe,
The Wake,
Barclay James Harvest,
Lizzy Mercier Descloux,
Peter Gordon & Love of Life Orchestra,
Alison Limerick,
Camberwell Now,
Pantytec, Pantytec, Pantytec, Pantytec.
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.