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 Angola and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Delhi 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Jacob Miller to the funk kids.
I played it at the Roxy.
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 Kevin Saunderson. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Kerrie Biddell,
Todd Terry,
Bobbi Humphrey,
Babytalk,
Mark Hollis,
Roy Ayers Ubiquity,
Camberwell Now,
Avey Tare & Kría Brekkan,
John Holt,
Frankie Knuckles,
Aural Exciters,
the Bar-Kays,
X-102,
The Doors,
Wighnomy Brothers & Robag Wruhme,
Brass Construction,
Mad Mike,
The Sisters of Mercy,
Roger Hodgson,
Lyres,
Kool Moe Dee,
Gong,
Minutemen,
Eric Copeland,
Archie Shepp,
Au Pairs,
Glambeats Corp.,
Peter and Kerry,
Barbara Tucker,
Little Man,
48th St. Collective,
Severed Heads,
John Cale,
Derrick May,
Negative Approach,
Lungfish,
Gil Scott Heron,
Pierre Henry,
Pet Shop Boys,
Basic Channel,
Symarip,
The Birthday Party,
The Cure,
In Retrospect,
John Foxx,
Siglo XX,
Funkadelic,
X-Ray Spex,
Alice Coltrane,
Stiv Bators,
Swans,
Marcia Griffiths,
Q65,
Curtis Mayfield,
Girls At Our Best!,
Deutsch Amerikanische Freundschaft,
Gang Gang Dance,
The Knickerbockers,
CMW,
Deepchord,
Swell Maps,
Tropical Tobacco,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.