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 Kazakhstan and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Beijing 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 organ sounds with much patience.
I was there when Lou Reed 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 kango's stein massive to the rap kids.
I played it at the Hacienda.
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 Ice-T. All the underground hits.
All Index tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sound Behaviour,
Model 500,
Pussy Galore,
Lebanon Hanover,
Khruangbin,
The Mighty Diamonds,
Royal Trux,
Grandmaster Flash,
Quadrant,
48th St. Collective,
Sunsets and Hearts,
Matthew Halsall,
Desert Stars,
The Shadows of Knight,
Notorious BIG live in Amsterdam,
Liliput,
Marvin Gaye,
Make Up,
Bill Wells,
Toni Rubio,
Thee Headcoats,
Lalann,
Maurizio,
Roy Ayers,
June of 44,
Ultravox,
Isaac Hayes,
Amon Düül,
Darondo,
Audionom,
Cal Tjader,
Charles Mingus,
Roger Hodgson,
Lou Reed & John Cale,
The West Coast Pop Art Experimental Band,
Aloha Tigers,
Barrington Levy,
Roy Ayers Ubiquity,
Pierre Henry,
Kurtis Blow,
Schoolly D,
K-Klass,
X-102,
Hardrive,
Mission of Burma,
The Jesus and Mary Chain,
Arthur Verocai,
Scrapy,
Rod Modell,
Teenage Jesus and the Jerks,
Crispy Ambulance,
London Community Gospel Choir,
The Gap Band,
the Sonics,
The Dead C,
Fluxion,
Iggy Pop,
Gerry Rafferty,
Basic Channel,
Essential Logic,
Mo-Dettes,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.