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 Senegal and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Salvador and Philadelphia.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when David Bowie 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 Robert Wyatt to the techno kids.
I played it at the Astoria.
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 Fortunes. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Sonic Youth 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
David Axelrod,
Sun Ra Arkestra,
Newcleus,
Mo-Dettes,
Faraquet,
Alison Limerick,
Idris Muhammad,
Joyce Sims,
Eyeless In Gaza,
Sun City Girls,
The Blues Magoos,
Harry Pussy,
Hasil Adkins,
The Residents,
Model 500,
Easy Going,
Electric Light Orchestra,
Marmalade,
Sandy B,
Selector Dub Narcotic,
Lafayette Afro Rock Band,
Absolute Body Control,
Y Pants,
Arab on Radar,
The Chocolate Watch Band,
Johnny Clarke,
Simply Red,
U.S. Maple,
New York Dolls,
Leonard Cohen,
Grey Daturas,
Lightning Bolt,
The Trojans,
Pharaoh Sanders and the Fire Engines,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scrapy,
Spoonie Gee,
Bobby Byrd,
The Slackers,
Howard Jones,
James Chance & The Contortions,
Crime,
Ajijia Myrayebe,
Freddie Wadling,
Lou Reed,
Electric Prunes,
Kurtis Blow,
OOIOO,
Aaron Thompson,
World's Most,
Max Romeo,
Funky Four + One,
Jawbox,
Ituana,
Youth Brigade,
Grandmaster Flash and the Furious Five,
Art Ensemble Of Chicago,
Thee Headcoats,
James White and The Blacks,
Sixth Finger,
The Busters,
Warren Ellis, Warren Ellis, Warren Ellis, Warren Ellis.
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.