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 Bhutan and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
I'm losing my edge to the art-school Salvador 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 snare sounds with much patience.
I was there when Donald Fagen 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 Blake Baxter to the disco kids.
I played it at CBGB's.
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 Brothers Johnson. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Drexciya,
Sam Rivers,
The Remains,
Kings Of Tomorrow,
Ronnie Foster,
The Blues Magoos,
Crooked Eye,
Agent Orange,
Panda Bear,
Lonnie Liston Smith,
The Vogues,
Groovy Waters,
Moby Grape,
Rahsaan Roland Kirk,
Bush Tetras,
Roxette,
Rhythm & Sound,
Gil Scott-Heron & Brian Jackson,
Eric Dolphy,
The New Christs,
Liliput,
DJ Sneak,
Black Bananas,
Warsaw,
Anthony Braxton,
Gang Green,
The Names,
Alphaville,
Animal Collective,
Marmalade,
Steve Hackett,
The Gories,
Index,
Michelle Simonal,
Grauzone,
James White and The Blacks,
Throbbing Gristle,
Stetsasonic,
Depeche Mode,
Godley & Creme,
Scott Walker,
The Kinks,
The Birthday Party,
Rapeman,
The Skatalites,
Scrapy,
Excepter,
The Seeds,
PIL,
The Sound,
Massinfluence,
The Human League,
Deadbeat,
Peter and Kerry,
Lebanon Hanover,
Banda Bassotti,
Public Image Ltd.,
Moebius,
Donny Hathaway,
Jeff Mills,
Model 500,
The Happenings, The Happenings, The Happenings, The Happenings.
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.