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 Morocco and from Woodstock.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Calgary 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Johnny Osbourne to the punk 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 Bobby Byrd. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Glambeats Corp.,
Cymande,
Bootsy Collins,
Fela Kuti,
Avey Tare,
Adolescents,
Symarip,
Al Stewart,
The Gap Band,
Johnny Osbourne,
Dual Sessions,
Tropical Tobacco,
Lee Hazlewood,
Gil Scott Heron,
Drive Like Jehu,
Heavy D & The Boyz,
R.M.O.,
Sad Lovers and Giants,
Newcleus,
Accadde A,
Marmalade,
Sunsets and Hearts,
The Happenings,
Subhumans,
Little Man,
Guru Guru,
Bauhaus,
Scott Walker,
Half Japanese,
Parry Music,
Eve St. Jones,
Jacob Miller,
Boredoms,
Drexciya,
Bizarre Inc.,
Matthew Bourne,
Infiniti,
The Cramps,
Nick Cave & The Bad Seeds,
The Saints,
The Peanut Butter Conspiracy,
Pierre Henry,
Massinfluence,
Toni Rubio,
The Blues Magoos,
Marcia Griffiths,
Iggy Pop,
Bobby Womack,
Tears for Fears,
Letta Mbulu,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Second Layer,
Underground Resistance,
Wasted Youth,
Todd Terry,
Masters at Work,
Saccharine Trust,
Ash Ra Tempel,
This Heat,
Cluster,
Eric B and Rakim,
Ultra Naté,
Ituana, Ituana, Ituana, Ituana.
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.