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 St Lucia and from Sao Paulo.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Milan and Tehran.
I'm losing my edge to the art-school Edmonton 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 1968 at the first Can practice in a loft in Cologne.
I was working on the snare 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 Babytalk to the crunk 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 Rekid. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Talk Talk,
James Chance & The Contortions,
Dorothy Ashby,
Loose Ends,
Infiniti,
Rekid,
Zero Boys,
D'Angelo,
Pharoah Sanders,
New Order,
Quando Quango,
Amazonics,
Los Fastidios,
Ultravox,
Sarah Menescal,
London Community Gospel Choir,
Rowland S Howard / Lydia Lunch,
Unrelated Segments,
Icehouse,
Rhythm & Sound,
Juan Atkins,
Franke,
Minny Pops,
Electric Light Orchestra,
The Music Machine,
A Certain Ratio,
Andrew Hill,
The Toasters,
Minnie Riperton,
Tropical Tobacco,
Blossom Toes,
The Smoke,
Wings,
The Evens,
Gichy Dan,
Japan,
Desert Stars,
Blake Baxter,
Ralphi Rosario,
Rosa Yemen,
Fad Gadget,
Junior Murvin,
Kauko Röyhkä ja Narttu,
Hot Snakes,
Bobby Sherman,
Roy Ayers,
Erykah Badu,
Grandmaster Flash and the Furious Five,
In Retrospect,
The Busters,
48th St. Collective,
Niagra,
The Mojo Men,
X-Ray Spex,
Connie Case,
Index,
the Swans,
Donald Byrd,
The Count Five,
Man Eating Sloth,
Hasil Adkins,
Piero Umiliani,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.