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 Bahrain and from Lagos.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Beasts of Bourbon to the electroclash kids.
I played it at the Astoria.
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 Sun City Girls. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Traffic Nightmare 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Young Rascals,
Reagan Youth,
Quando Quango,
Public Enemy,
Rekid,
John Coltrane,
Eve St. Jones,
Michelle Simonal,
Franke,
Babytalk,
Scratch Acid,
Mad Mike,
Pulsallama,
Henry Cow,
Pylon,
10cc,
Ossler,
Eric B and Rakim,
Public Image Ltd.,
the Germs,
Swell Maps,
Ohio Players,
Cluster,
Neil Young,
Severed Heads,
David Bowie,
The Alarm Clocks,
Freddie Wadling,
Selector Dub Narcotic,
Jacques Brel,
The Doors,
The Gladiators,
Graham Central Station,
Iggy Pop,
Roy Ayers,
June Days,
Buzzcocks,
OOIOO,
Bootsy's Rubber Band,
Rhythm & Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Flash Fearless,
Lee Hazlewood,
Das Ding,
Camouflage,
The Sonics,
Lonnie Liston Smith,
Ultramagnetic MC's,
H. Thieme,
Fad Gadget,
Throbbing Gristle,
Barry Ungar,
Girls At Our Best!,
The Misunderstood,
Saccharine Trust,
The Modern Lovers,
Half Japanese,
Sonny Sharrock,
Albert Ayler,
The Fugs,
F. McDonald,
The Sound,
Symarip,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.