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 Madagascar and from Columbus.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Manchester 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Matthew Halsall to the rap kids.
I played it at the Troubador.
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 Agitation Free. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every Moby Grape record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Strawberry Alarm Clock,
Ash Ra Tempel,
Jeff Lynne,
Kaleidoscope,
The Count Five,
The Grass Roots,
Pussy Galore,
Thompson Twins,
Spandau Ballet,
Bill Near,
Tomorrow,
Siouxsie and the Banshees,
Big Daddy Kane,
The Blues Magoos,
Red Lorry Yellow Lorry,
The Alarm Clocks,
MDC,
Technova,
Kango’s Stein Massive,
Brass Construction,
Sandy B,
Outsiders,
The Men They Couldn't Hang,
The Music Machine,
London Community Gospel Choir,
Jawbox,
Gil Scott Heron,
Michelle Simonal,
June of 44,
Lonnie Liston Smith,
Pulsallama,
June Days,
DJ Style,
Eden Ahbez,
A Flock of Seagulls,
Slave,
Buzzcocks,
Nirvana,
The Chocolate Watch Band,
Gastr Del Sol,
Sticky Fingaz feat. Raekwon,
The Sisters of Mercy,
Gang of Four,
Joy Division,
Oppenheimer Analysis,
Spoonie Gee,
PIL,
Gary Puckett & The Union Gap,
Excepter,
Marc Romboy vs. Booka Shade,
Black Moon,
Stiv Bators,
Electric Prunes,
Popol Vuh,
Mandrill,
Grauzone,
Deadbeat,
Kas Product,
Amazonics,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.