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 Cameroon and from Shanghai.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Glasgow.
I'm losing my edge to the art-school Manchester 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the clarinet 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 Big Daddy Kane to the jazz kids.
I played it at Trash.
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 Mission of Burma. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
the Association,
Amon Düül,
The Mojo Men,
Boogie Down Productions,
Panda Bear,
Cal Tjader,
FM Einheit,
Bobby Hutcherson,
The Electric Prunes,
The J.B.'s,
Q65,
Jacob Miller,
Kenny Larkin,
T. Rex,
Gian Franco Pienzio,
X-Ray Spex,
Scratch Acid,
Lou Christie,
Traffic Nightmare,
ABC,
The United States of America,
Sight & Sound,
Liaisons Dangereuses,
Sunsets and Hearts,
Radio Birdman,
Little Man,
The Mummies,
Model 500,
Marcia Griffiths,
Magma,
The Evens,
Ultramagnetic MC's,
MDC,
Eurythmics,
Bobby Womack,
Wire,
Tubeway Army,
The Motions,
MC5,
L. Decosne,
Pharoah Sanders,
Black Sheep,
Animal Collective,
Glenn Branca,
Supertramp,
Easy Going,
Michelle Simonal,
The Birthday Party,
Robert Görl,
Steve Hackett,
Minny Pops,
London Community Gospel Choir,
Youth Brigade,
Peter & Gordon,
The Walker Brothers,
Al Stewart,
Oneida,
Vladislav Delay,
The Alarm Clocks,
Gang Gang Dance,
The New Christs,
X-101, X-101, X-101, X-101.
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.