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 Mauritius and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Paris 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Todd Rundgren to the punk kids.
I played it at the 40 Watt.
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 Nas. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Lindisfarne record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Alice Coltrane,
Crash Course in Science,
Man Parrish,
Interpol,
Lou Christie,
Charles Mingus,
U.S. Maple,
Arab on Radar,
Al Stewart,
Kango’s Stein Massive,
The Doors,
CMW,
Alton Ellis,
Spoonie Gee,
Marvin Gaye,
Graham Central Station,
Intrusion,
London Community Gospel Choir,
The Monochrome Set,
Jawbox,
The Mojo Men,
Marine Girls,
Richard Hell and the Voidoids,
The Invisible,
T. Rex,
Black Pus,
Hoover,
Pole,
Jimmy McGriff,
Fatback Band,
The Velvet Underground,
Minor Threat,
New Age Steppers,
Gil Scott-Heron and Jamie xx,
Lalo Schifrin,
The Alarm Clocks,
Isaac Hayes,
Albert Ayler,
The Black Dice,
Siouxsie and the Banshees,
FM Einheit,
Magazine,
Fad Gadget,
Rahsaan Roland Kirk,
Harmonia,
Desert Stars,
Country Joe & The Fish,
Kas Product,
The Associates,
Second Layer,
X-102,
Duran Duran,
The Durutti Column,
Wasted Youth,
The Chocolate Watch Band,
Black Sheep,
Amazonics,
Avey Tare & Kría Brekkan,
Sugar Minott, Sugar Minott, Sugar Minott, Sugar Minott.
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.