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 Bulgaria and from Tokyo.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lille and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Los Fastidios to the rap 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 D'Angelo. All the underground hits.
All Larry & the Blue Notes tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Scan 7,
Urselle,
Don Cherry,
Visage,
Roger Hodgson,
K-Klass,
AZ,
The Skatalites,
The Pretty Things,
Echo & the Bunnymen,
Jerry's Kids,
Young Marble Giants,
Sex Pistols,
Cal Tjader,
Isaac Hayes,
Blake Baxter,
Danielle Patucci,
Parry Music,
The Moody Blues,
cv313,
Glambeats Corp.,
Sun Ra Arkestra,
Bootsy's Rubber Band,
Robert Hood,
Pharoah Sanders,
The Neon Judgement,
The Offenders,
DJ Sneak,
David McCallum,
Piero Umiliani,
DeepChord presents Echospace,
Howard Jones,
Charles Mingus,
Aaron Thompson,
Sunsets and Hearts,
Minny Pops,
Teenage Jesus and the Jerks,
Adolescents,
Andrew Ashong & Theo Parrish,
Kings Of Tomorrow,
Bill Near,
Angels of Light & Akron/Family,
Quantec,
R.M.O.,
Yazoo,
Boredoms,
Clear Light,
The Sonics,
Sixth Finger,
Bobby Byrd,
Essential Logic,
Little Man,
Brand Nubian,
Drive Like Jehu,
Jerry Gold Smith,
The Alarm Clocks,
The Techniques,
Hoover,
Todd Terry,
MC5,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.