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 Haiti and from London.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Minnie Riperton to the grime 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 Bill Near. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Suburban Knight record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
The Alarm Clocks,
Harry Pussy,
Matthew Bourne,
Soul II Soul,
Drive Like Jehu,
The Smiths,
The Techniques,
Michelle Simonal,
The Dirtbombs,
The Trojans,
L. Decosne,
Amon Düül II,
Section 25,
The Seeds,
Sexual Harrassment,
Ultravox,
Eyeless In Gaza,
Pierre Henry,
Patti Smith,
Eli Mardock,
Ultra Naté,
The West Coast Pop Art Experimental Band,
Godley & Creme,
FM Einheit,
Tropical Tobacco,
Ossler,
The Royal Family And The Poor,
Hashim,
Yazoo,
Minor Threat,
Liliput,
La Düsseldorf,
Major Organ And The Adding Machine,
Japan,
Chris Corsano,
Delta 5,
Cymande,
Barry Ungar,
OOIOO,
Main Source,
Joyce Sims,
Rahsaan Roland Kirk,
Todd Rundgren,
Visionaries,LMNO, T- Love & Iriscience,
Anakelly,
Black Pus,
Yellowson,
Barbara Tucker,
Lalo Schifrin,
The Walker Brothers,
X-Ray Spex,
Severed Heads,
Sex Pistols,
The Monochrome Set,
Siouxsie and the Banshees,
Throbbing Gristle,
Los Fastidios,
Joe Smooth,
Traffic Nightmare,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.