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 Houston.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Bauhaus to the funk 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 Ronnie Foster. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Joey Negro,
X-102,
The Victims,
The Offenders,
Radiohead,
The Monochrome Set,
Lou Reed,
Mandrill,
Pharoah Sanders,
Easy Going,
Anakelly,
Wire,
Dennis Brown,
Heaven 17,
New Age Steppers,
Cymande,
Juan Atkins,
The Real Kids,
Moby Grape,
Nils Olav,
Graham Central Station,
Kaleidoscope,
The Human League,
Bronski Beat,
Faraquet,
Babytalk,
the Soft Cell,
Tropical Tobacco,
Q and Not U,
Justin Hinds & The Dominoes,
UT,
Johnny Osbourne,
The Fugs,
Gang of Four,
Supertramp,
Spandau Ballet,
Pole,
Frankie Knuckles,
Gary Puckett & The Union Gap,
The United States of America,
Junior Murvin,
The Busters,
Terrestrial Tones,
Swans,
Intrusion,
Robert Hood,
Yusef Lateef,
The Zeros,
Terry Callier,
Bill Near,
Tres Demented,
Accadde A,
Boogie Down Productions,
JFA,
Major Organ And The Adding Machine,
The Durutti Column,
John Lydon,
Schoolly D,
Ossler,
Isaac Hayes,
Con Funk Shun,
Hoover, Hoover, Hoover, Hoover.
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.