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 Angola and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Beijing 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 the Soft Cell to the jazz kids.
I played it at the Crocodile.
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 The Durutti Column. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Ralphi Rosario 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Little Man,
New Age Steppers,
Royal Trux,
One Last Wish,
Lower 48,
Heaven 17,
Essential Logic,
The Five Americans,
Brand Nubian,
Angels of Light & Akron/Family,
T. Rex,
The Doobie Brothers,
Delon & Dalcan,
Drexciya,
The Electric Prunes,
Kauko Röyhkä ja Narttu,
Pet Shop Boys,
London Community Gospel Choir,
H. Thieme,
Isaac Hayes,
Funkadelic,
The Fire Engines,
The Gap Band,
Interpol,
Black Moon,
Sex Pistols,
Popol Vuh,
Roy Ayers,
The Cure,
Aaron Thompson,
The Litter,
The Music Machine,
Hoover,
Grandmaster Flash and the Furious Five,
Marc Almond,
Curtis Mayfield,
Jerry's Kids,
Suburban Knight,
E-Dancer,
Warsaw,
Rufus Thomas,
Grauzone,
Das Ding,
Spoonie Gee,
Jesper Dahlback,
The Mighty Diamonds,
Jeru the Damaja,
Average White Band,
Ludus,
Saccharine Trust,
JFA,
Mr. Review,
Selector Dub Narcotic,
Lindisfarne,
Arcadia,
Joensuu 1685,
Sparks,
Kango’s Stein Massive,
Deadbeat,
The Evens,
Alison Limerick,
Yellowson, Yellowson, Yellowson, Yellowson.
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.