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 Kyrgyzstan and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Country Joe & The Fish to the rap kids.
I played it at the 40 Watt.
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 Big Daddy Kane. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Cecil Taylor,
The Fire Engines,
Can,
London Community Gospel Choir,
Robert Hood,
Blake Baxter,
Fort Wilson Riot,
Yusef Lateef,
Ohio Players,
Rakim,
Duran Duran,
The Pop Group,
Sonic Youth,
Ronan,
Lee Hazlewood,
Warren Ellis,
Gong,
Alphaville,
The Vogues,
Quando Quango,
Super Lover Cee & Casanova Rud,
Soulsonic Force,
The Grass Roots,
Kayak,
The Mojo Men,
Wally Richardson,
Fat Boys,
The Zeros,
Ultramagnetic MC's,
Alison Limerick,
Josef K,
Young Marble Giants,
Swans,
Das Ding,
The Leaves,
Steve Hackett,
48th St. Collective,
Lyres,
X-102,
Bobby Sherman,
Röyhkä ja Rättö ja Lehtisalo,
Negative Approach,
Crime,
In Retrospect,
Scientists,
De La Soul & Jungle Brothers,
Anakelly,
10cc,
Sexual Harrassment,
Bang on a Can All-Stars,
Max Romeo,
Yellowson,
The Royal Family And The Poor,
Index,
the Association,
The Golliwogs,
Kevin Saunderson,
ABC,
Bootsy Collins,
June Days,
Saccharine Trust,
ABBA, ABBA, ABBA, ABBA.
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.