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 Sierra Leone and from Salvador.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Toronto and Spokane.
I'm losing my edge to the art-school Paris 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 spring reverb 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 Bootsy Collins to the punk kids.
I played it at Cafe Wha.
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 DNA. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Gang Starr 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Crispy Ambulance,
Derrick Morgan,
A Flock of Seagulls,
The Monks,
Fort Wilson Riot,
Anthony Braxton,
Terrestrial Tones,
The Doors,
Terry Callier,
Hasil Adkins,
The Mighty Diamonds,
Josef K,
Davy DMX,
Q and Not U,
Mantronix,
Juan Atkins,
Gil Scott-Heron and Jamie xx,
Letta Mbulu,
Lizzy Mercier Descloux,
Jacques Brel,
Youth Brigade,
James Chance & The Contortions,
Matthew Halsall,
Roger Hodgson,
The Techniques,
Monks,
Subhumans,
Idris Muhammad,
Radiopuhelimet,
the Fania All-Stars,
Thee Headcoats,
Beasts of Bourbon,
The Durutti Column,
Absolute Body Control,
Archie Shepp,
Eric Copeland,
N.O.R.E. Featuring Pharrell,
The Slackers,
MC5,
Avey Tare,
DJ Style,
Surgeon,
Rowland S Howard / Lydia Lunch,
Minor Threat,
Lonnie Liston Smith,
Glenn Branca,
Stereo Dub,
The Men They Couldn't Hang,
Lou Reed & John Cale,
Quando Quango,
Barclay James Harvest,
Jawbox,
Bobbi Humphrey,
Yellowson,
Sugar Minott,
Mad Mike,
Amon Düül II,
Massinfluence,
Spoonie Gee,
Rakim,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.