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 Gambia and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Seoul.
I'm losing my edge to the art-school Manchester 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 Captain Beefheart 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 Ronnie Foster to the rock kids.
I played it at the Crocodile.
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 T. Rex. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Selector Dub Narcotic,
Camberwell Now,
Big Daddy Kane,
A Certain Ratio,
Stetsasonic,
La Düsseldorf,
Kool Moe Dee,
Godley & Creme,
Maleditus Sound,
Bush Tetras,
U.S. Maple,
JFA,
Jerry Gold Smith,
Goldenarms,
Skaos,
The Victims,
Todd Rundgren,
Mantronix,
Thee Headcoats,
The Red Krayola,
Technova,
The Gun Club,
A Flock of Seagulls,
Public Image Ltd.,
Ponytail,
Theoretical Girls,
Dual Sessions,
Toni Rubio,
The Smiths,
Deadbeat,
Lou Christie,
Peter Gordon & Love of Life Orchestra,
Carl Craig,
Amon Düül,
The Martian,
Blossom Toes,
The Saints,
Reagan Youth,
Brand Nubian,
Archie Shepp,
Sun Ra,
Fluxion,
The Black Dice,
Spandau Ballet,
Banda Bassotti,
Minnie Riperton,
Marc Romboy vs. Booka Shade,
Louis and Bebe Barron,
Bizarre Inc.,
Anakelly,
Scott Walker,
Jesper Dahlback,
Liaisons Dangereuses,
Soft Machine,
Urselle,
Scrapy,
Black Bananas,
Surgeon,
Minny Pops,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.