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 Angola and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Robert Wyatt to the disco kids.
I played it at the Hacienda.
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 Mandrill. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Aloha Tigers 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Last Poets record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiopuhelimet,
Sam Rivers,
Lalann,
Gary Puckett & The Union Gap,
Sandy B,
Gang Green,
The Alarm Clocks,
Reagan Youth,
Gang Starr,
Lower 48,
Colin Newman,
Fat Boys,
The Dirtbombs,
The Buckinghams,
X-101,
Rekid,
Flipper,
Barrington Levy,
Average White Band,
The American Breed,
Ronnie Foster,
Dual Sessions,
Urselle,
Albert Ayler,
The Residents,
R.M.O.,
Jimmy McGriff,
Bill Wells,
Nation of Ulysses,
Derrick Morgan,
The Cure,
Pete Rock & C.L. Smooth,
Popol Vuh,
MC5,
Oblivians,
The Gap Band,
cv313,
Grandmaster Flash and the Furious Five,
Alton Ellis,
Ken Boothe,
Rakim,
Brick,
Negative Approach,
Neil Young,
Deakin,
Vaughan Mason & Crew,
The Associates,
Hashim,
Scott Walker,
Chris Corsano,
Mo-Dettes,
The Move,
Ornette Coleman,
Eurythmics,
The Martian,
Lou Reed,
Eli Mardock,
Sexual Harrassment,
Country Joe & The Fish,
Tres Demented,
Davy DMX,
The Kinks,
Faust, Faust, Faust, Faust.
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.