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 Burkina and from Philadelphia.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Spokane 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 1976 at the first Chic practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 The Names to the electroclash 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 Whodini. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Jimmy McGriff,
The Seeds,
Colin Newman,
Ronnie Foster,
Neu!,
New York Dolls,
Traffic Nightmare,
New Order,
Gong,
Urselle,
the Normal,
Stetsasonic,
Selector Dub Narcotic,
James White and The Blacks,
Morten Harket,
The Associates,
Jacob Miller,
The Offenders,
Faraquet,
Aural Exciters,
The Cure,
Public Image Ltd.,
Pantaleimon,
Crispy Ambulance,
Robert Görl,
The Human League,
Loose Ends,
Soft Cell,
Todd Terry,
X-101,
Reuben Wilson,
Jerry Gold Smith,
Adolescents,
Ohio Players,
Strawberry Alarm Clock,
Rufus Thomas,
Gang Starr,
Procol Harum,
The Neon Judgement,
Soft Machine,
cv313,
Kevin Saunderson,
Peter & Gordon,
Dark Day,
The Black Dice,
The Monks,
Freddie Wadling,
Das Ding,
Bang on a Can All-Stars,
Roy Ayers,
Y Pants,
Country Teasers,
Johnny Clarke,
Sparks,
Alton Ellis,
The Sound,
Make Up,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.