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 Calgary.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1970.
I'm losing my edge.
To all the kids in Accra and Johannesburg.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the güiro 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 Urselle to the funk kids.
I played it at the Spitz.
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 Desert Stars. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Circle Jerks 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 '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Cabaret Voltaire,
Rekid,
Motorama,
Public Enemy,
Harmonia,
Robert Wyatt,
Lucky Dragons,
Marmalade,
Popol Vuh,
Pierre Henry,
Amon Düül II,
Crime,
Byron Stingily,
Rahsaan Roland Kirk,
H. Thieme,
The West Coast Pop Art Experimental Band,
a-ha,
Hashim,
Hot Snakes,
Chris & Cosey,
A Flock of Seagulls,
Neil Young,
Yellowson,
Jimmy McGriff,
The Moleskins,
Cameo,
Mars,
Faust,
Josef K,
It's A Beautiful Day,
the Fania All-Stars,
Grauzone,
Marvin Gaye,
Yaz,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Japan,
The Stooges,
Boogie Down Productions,
The Chocolate Watch Band,
Gang Green,
Deutsch Amerikanische Freundschaft,
JFA,
The Last Poets,
Sister Nancy,
Minor Threat,
The Electric Prunes,
Monks,
Al Stewart,
Janne Schatter,
Aswad,
Depeche Mode,
Scott Walker,
Selector Dub Narcotic,
PIL,
The Techniques,
Faraquet,
The Cramps,
Little Man,
Arab on Radar,
The Standells,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.