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 Madrid.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Woodstock 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 chamberlin 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 Funkadelic to the disco kids.
I played it at Trash.
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 Donald Byrd tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal rock 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 a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fugs,
Ken Boothe,
Gil Scott Heron,
Shuggie Otis,
Second Layer,
Procol Harum,
Godley & Creme,
Malaria!,
Gil Scott-Heron & Brian Jackson,
The Standells,
Quantec,
Bob Dylan,
The Moleskins,
Young Marble Giants,
Popol Vuh,
Ludus,
Bush Tetras,
Ronnie Foster,
Electric Light Orchestra,
Faust,
Kaleidoscope,
Jeff Lynne,
The Barracudas,
Wings,
Ultramagnetic MC's,
Barclay James Harvest,
Visage,
The Seeds,
Curtis Mayfield,
Lou Reed & John Cale,
Pole,
Big Daddy Kane,
Bootsy Collins,
Porter Ricks,
Sight & Sound,
FM Einheit,
Spoonie Gee,
Deutsch Amerikanische Freundschaft,
H. Thieme,
Intrusion,
The Selecter,
Chrome,
Bang on a Can All-Stars,
Mission of Burma,
Eddi Front,
James White and The Blacks,
Faraquet,
Sugar Minott,
Franke,
EPMD,
Kerrie Biddell,
The Gories,
Grauzone,
Von Mondo,
Oblivians,
John Coltrane,
Lebanon Hanover,
The Move,
Pierre Henry,
The Wake,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.