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 Botswana and from Spokane.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Houston 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord 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 The Trojans to the rap 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 Brass Construction. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Toni Rubio,
James White and The Blacks,
Laurel Aitken,
Richard Hell and the Voidoids,
Sixth Finger,
Icehouse,
Roxy Music,
Byron Stingily,
The Zeros,
The American Breed,
Kaleidoscope,
John Cale,
Roger Hodgson,
The Five Americans,
Mission of Burma,
Delon & Dalcan,
The Move,
Sound Behaviour,
Alton Ellis,
Rekid,
cv313,
Terry Callier,
Reagan Youth,
Johnny Osbourne,
Magma,
Don Cherry,
Camron Feat. Memphis Bleek And Beenie Seigel,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Camouflage,
New Order,
the Association,
the Slits,
The Last Poets,
Siglo XX,
The Toasters,
Quando Quango,
The Leaves,
Bizarre Inc.,
the Bar-Kays,
Gil Scott-Heron & Brian Jackson,
Matthew Halsall,
UT,
Groovy Waters,
Schoolly D,
Organ,
Fear,
Black Sheep,
Barrington Levy,
These Immortal Souls,
The Doors,
Soul II Soul,
Terror Squad Feat. Camron,
Visage,
Mary Jane Girls,
Rahsaan Roland Kirk,
Roxette,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.