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 Gambia and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Accra 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 rhodes 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 Black Moon to the crunk kids.
I played it at the Roxy.
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 Matthew Halsall. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Mandrill,
New Age Steppers,
Lonnie Liston Smith,
Johnny Osbourne,
Buzzcocks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Country Teasers,
Yusef Lateef,
Nas,
Jimmy McGriff,
The Gun Club,
Tres Demented,
The Leaves,
Skaos,
X-101,
Kool G Rap & DJ Polo,
The West Coast Pop Art Experimental Band,
Erasure,
Nick Fraelich,
Pere Ubu,
F. McDonald,
Camouflage,
Moby Grape,
Parry Music,
De La Soul & Jungle Brothers,
Minny Pops,
The Gladiators,
Average White Band,
MDC,
The Skatalites,
Fatback Band,
Boredoms,
The Cure,
Michelle Simonal,
James White and The Blacks,
Stockholm Monsters,
Masters at Work,
Smog,
Shoche,
X-102,
Alison Limerick,
Monolake,
John Cale,
Nils Olav,
H. Thieme,
Desert Stars,
Moebius,
Bang on a Can All-Stars,
New Order,
Notorious Big And Bone Thugs,
China Crisis,
Red Lorry Yellow Lorry,
Sparks,
The Mummies,
T. Rex,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Alice Coltrane,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.