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 Luxembourg and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Houston 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 K-Klass to the rock kids.
I played it at the Spitz.
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 Porter Ricks. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every The Fugs 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 marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Reuben Wilson,
The Victims,
Soul II Soul,
The Monochrome Set,
The Doobie Brothers,
Essential Logic,
Grandmaster Flash,
A Certain Ratio,
The Star Department,
Bobby Byrd,
The West Coast Pop Art Experimental Band,
Ice-T,
the Germs,
Suicide,
E-Dancer,
Cameo,
The Saints,
Sällskapet,
Scan 7,
Don Cherry,
Jeru the Damaja,
The Young Rascals,
Richard Hell and the Voidoids,
Deakin,
Joensuu 1685,
Black Bananas,
Deadbeat,
UT,
Brothers Johnson,
Tropical Tobacco,
LL Cool J,
Half Japanese,
Bootsy Collins,
Can,
Lightning Bolt,
Eric B and Rakim,
Crispy Ambulance,
Frankie Knuckles,
Gian Franco Pienzio,
Alphaville,
the Swans,
Minnie Riperton,
Nico,
Lebanon Hanover,
Q and Not U,
Thee Headcoats,
Lou Christie,
Alton Ellis,
The Remains,
Fat Boys,
Amon Düül II,
Ultra Naté,
Jawbox,
Brass Construction,
Teenage Jesus and the Jerks,
Pierre Henry,
Camberwell Now,
Liaisons Dangereuses,
Roxy Music,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.