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 Marshall Islands and from Hong Kong.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Toronto and Paris.
I'm losing my edge to the art-school Madrid 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 Nile Rodgers 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 Rosa Yemen to the rock kids.
I played it at the Troubador.
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 La Düsseldorf. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Yellowson 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 '60s cut and another box set from the '70s.
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 Terrestrial Tones record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nas,
The Last Poets,
Jerry's Kids,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Neon Judgement,
The Busters,
Monks,
Donny Hathaway,
The Alarm Clocks,
Rakim,
Howard Jones,
Marvin Gaye,
The Blues Magoos,
The Remains,
Peter & Gordon,
Motorama,
Frankie Knuckles,
Interpol,
Carl Craig,
Neil Young & Crazy Horse,
The Five Americans,
Richard Hell and the Voidoids,
The Doobie Brothers,
Tim Buckley,
Gang Starr,
Warsaw,
Throbbing Gristle,
Morten Harket,
Procol Harum,
AZ,
Depeche Mode,
Altered Images,
Prince Buster,
Brass Construction,
The Move,
Röyhkä ja Rättö ja Lehtisalo,
Das Ding,
Groovy Waters,
Thinking Fellers Union Local 282,
Gregory Isaacs,
Bobby Sherman,
Cheater Slicks,
the Slits,
Oppenheimer Analysis,
Teenage Jesus and the Jerks,
Guru Guru,
Ossler,
Section 25,
Kaleidoscope,
Gabor Szabo,
Dead Boys,
Soul Sonic Force,
Amon Düül II,
The Dirtbombs,
Scientists,
Malaria!,
Leonard Cohen,
Jerry Gold Smith,
Sonic Youth,
Andrew Ashong & Theo Parrish,
Lucky Dragons,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.