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 Solomon Islands and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Tehran 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Bill Near to the rock 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 Saccharine Trust. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every Banda Bassotti 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Fatback Band,
It's A Beautiful Day,
T. Rex,
Easy Going,
James Chance & The Contortions,
B.T. Express,
Joensuu 1685,
The Mummies,
Nils Olav,
Adolescents,
Johnny Osbourne,
Bob Dylan,
Jerry Gold Smith,
Letta Mbulu,
Boz Scaggs,
Avey Tare & Kría Brekkan,
Peter Gordon & Love of Life Orchestra,
Minny Pops,
Supertramp,
Talk Talk,
UT,
Zapp,
Derrick May,
World's Most,
T.S.O.L.,
Matthew Halsall,
Shoche,
Bauhaus,
the Slits,
Nico,
Roger Hodgson,
Nas,
Danielle Patucci,
The Moody Blues,
Little Man,
Deakin,
Minor Threat,
Wire,
Thompson Twins,
Simply Red,
Don Cherry,
Bang On A Can,
JFA,
Röyhkä ja Rättö ja Lehtisalo,
Robert Wyatt,
Byron Stingily,
Marmalade,
Yusef Lateef,
Lindisfarne,
Morten Harket,
Lakeside,
Donny Hathaway,
Radiopuhelimet,
The Motions,
Junior Murvin,
Warren Ellis,
ABC,
The Moleskins,
The Cosmic Jokers,
Be Bop Deluxe,
John Cale,
Boredoms, Boredoms, Boredoms, Boredoms.
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.