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 Bolivia and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Thompson Twins to the dance kids.
I played it at the Astoria.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal crunk 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Camron Feat. Jay Z And Juelz,
Fatback Band,
Anakelly,
Joe Smooth,
Average White Band,
Selector Dub Narcotic,
Motorama,
Barrington Levy,
Larry & the Blue Notes,
John Cale,
Infiniti,
Peter Gordon & Love of Life Orchestra,
Richard Hell and the Voidoids,
UT,
Skarface,
June of 44,
Michelle Simonal,
Junior Murvin,
Scrapy,
JFA,
Crime,
Radiopuhelimet,
Sparks,
Black Moon,
The Young Rascals,
Tom Boy,
Teenage Jesus and the Jerks,
The Angels of Light,
Minnie Riperton,
The Buckinghams,
Alice Coltrane,
Archie Shepp,
Scientists,
Nation of Ulysses,
Second Layer,
China Crisis,
Eric Dolphy,
David Axelrod,
Ponytail,
Kerrie Biddell,
Girls At Our Best!,
B.T. Express,
Sight & Sound,
The Happenings,
Sugar Minott,
David McCallum,
Sixth Finger,
Amon Düül,
Beasts of Bourbon,
Arthur Verocai,
Spoonie Gee,
The Black Dice,
Ronnie Foster,
The Mojo Men,
Lou Christie,
Kerri Chandler,
John Holt,
Deadbeat,
Pole,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.