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 Niger and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Shanghai 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 Robert Palmer 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 Half Japanese to the dance kids.
I played it at CBGB's.
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 Johnny Clarke. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dirtbombs,
Crispian St. Peters,
Lou Reed & John Cale,
Wolf Eyes,
Roy Ayers Ubiquity,
Mark Hollis,
Soft Machine,
kango's stein massive,
Oneida,
Bronski Beat,
The Slits,
Minutemen,
Peter & Gordon,
Drexciya,
Symarip,
Crime,
DeepChord presents Echospace,
The Sonics,
Deakin,
Tubeway Army,
Jerry's Kids,
Ituana,
Amon Düül II,
The Kinks,
Kenny Larkin,
The Sisters of Mercy,
Bang On A Can,
Fear,
Rhythim Is Rhythim,
Yaz,
The Gories,
Pet Shop Boys,
the Slits,
Delon & Dalcan,
China Crisis,
Notorious Big And Bone Thugs,
Rhythm & Sound,
Dorothy Ashby,
Morten Harket,
L. Decosne,
Roxy Music,
T.S.O.L.,
Newcleus,
Smog,
Sandy B,
Blossom Toes,
Captain Beefheart & His Magic Band,
Liaisons Dangereuses,
Sight & Sound,
KRS-One,
Big Daddy Kane,
Toni Rubio,
Marc Romboy vs. Booka Shade,
Byron Stingily,
The Neon Judgement,
E-Dancer,
The Blues Magoos,
B.T. Express,
the Normal,
Gabor Szabo,
U.S. Maple,
The Moody Blues,
The Toasters, The Toasters, The Toasters, The Toasters.
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.