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 Estonia and from London.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Lagos and Stockholm.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Mad Mike to the rock kids.
I played it at the Hacienda.
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 Japan. All the underground hits.
All Eric B and Rakim tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
James Chance & The Contortions,
Eyeless In Gaza,
Underground Resistance,
Aaron Thompson,
The Offenders,
Grandmaster Flash and the Furious Five,
The Seeds,
Manfred Mann's Earth Band,
kango's stein massive,
Pantaleimon,
Wire,
Stetsasonic,
Lungfish,
The West Coast Pop Art Experimental Band,
John Coltrane,
The Last Poets,
Bill Near,
Peter & Gordon,
Shuggie Otis,
Jerry Gold Smith,
Joey Negro,
Gastr Del Sol,
Interpol,
Fear,
Kool Moe Dee,
Sam Rivers,
Major Organ And The Adding Machine,
Kerri Chandler,
Slick Rick,
Black Bananas,
Connie Case,
The Slackers,
Ornette Coleman,
David McCallum,
Andrew Ashong & Theo Parrish,
Bobby Byrd,
Sugar Minott,
The Men They Couldn't Hang,
Mars,
The Kinks,
Minor Threat,
The Cowsills,
The Neon Judgement,
Graham Central Station,
Chris Corsano,
Model 500,
Chris & Cosey,
Angry Samoans,
Laurel Aitken,
The Doobie Brothers,
Supertramp,
Porter Ricks,
The Monochrome Set,
Soft Machine,
The Selecter,
Oneida,
Scientists,
K-Klass,
Newcleus,
Country Joe & The Fish,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.