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 Argentina and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Seoul and Halifax.
I'm losing my edge to the art-school Seoul 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 theremin 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 Rod Modell to the jazz kids.
I played it at the Hacienda.
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 Funky Four + One. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Whodini record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Lou Reed,
Radiopuhelimet,
Amon Düül,
Clear Light,
Kango’s Stein Massive,
Brand Nubian,
LL Cool J,
The Move,
The Mojo Men,
Derrick Morgan,
Harpers Bizarre,
Marcia Griffiths,
Scott Walker,
Lou Reed & John Cale,
Bang On A Can,
X-101,
Severed Heads,
Kool G Rap & DJ Polo,
Be Bop Deluxe,
Con Funk Shun,
Magma,
Rakim,
Youth Brigade,
The West Coast Pop Art Experimental Band,
Black Flag,
Lungfish,
David McCallum,
Gregory Isaacs,
Arthur Verocai,
Masters at Work,
Au Pairs,
Soulsonic Force,
Bill Wells,
Soft Cell,
The Saints,
Harry Pussy,
Gabor Szabo,
Bizarre Inc.,
The American Breed,
The Gladiators,
Gong,
Kool Moe Dee,
Gerry Rafferty,
Mr. Review,
Wighnomy Brothers & Robag Wruhme,
Marvin Gaye,
Josef K,
Eurythmics,
The Selecter,
The Sound,
Average White Band,
Johnny Osbourne,
Tim Buckley,
Jeff Mills,
The Shadows of Knight,
AZ,
Wasted Youth,
Blossom Toes,
Eden Ahbez,
48th St. Collective,
Connie Case,
Gil Scott-Heron & Brian Jackson,
Slave,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.