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 Mauritius and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Accra and Madrid.
I'm losing my edge to the art-school Accra 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Sad Lovers and Giants 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 Magma. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
The Music Machine,
Jesper Dahlback,
Avey Tare's Slasher Flicks,
Black Sheep,
John Coltrane,
Soft Cell,
Pagans,
Albert Ayler,
Rapeman,
Mo-Dettes,
The Blackbyrds,
Godley & Creme,
UT,
The Jesus and Mary Chain,
The Gladiators,
Rod Modell,
Archie Shepp,
Gregory Isaacs,
Arab on Radar,
Mad Mike,
Camberwell Now,
The Happenings,
Larry & the Blue Notes,
Gil Scott Heron,
The Mighty Diamonds,
Lindisfarne,
Ajijia Myrayebe,
Pet Shop Boys,
Bad Manners,
Kas Product,
Ice-T,
Stetsasonic,
Strawberry Alarm Clock,
Minny Pops,
Anakelly,
Jesper Dahlbäck,
Liliput,
The Last Poets,
Kool G Rap & DJ Polo,
X-101,
John Lydon,
Lafayette Afro Rock Band,
DeepChord presents Echospace,
The Wake,
Average White Band,
Minutemen,
the Bar-Kays,
New York Dolls,
the Association,
Altered Images,
Röyhkä ja Rättö ja Lehtisalo,
The Sound,
Robert Görl,
Mission of Burma,
Monolake,
The Index,
Flash Fearless,
Masters at Work,
Easy Going,
Lou Reed & John Cale,
F. McDonald,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.