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 Zimbabwe and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Woodstock 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 Captain Beefheart 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 Kool Moe Dee to the dance kids.
I played it at the 40 Watt.
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 Sugar Minott. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Alice Coltrane 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Vainqueur,
Strawberry Alarm Clock,
Idris Muhammad,
Boredoms,
Art Ensemble Of Chicago,
Alton Ellis,
Arcadia,
Liaisons Dangereuses,
Amon Düül,
Kaleidoscope,
Monks,
Barclay James Harvest,
Kurtis Blow,
Jacques Brel,
H. Thieme,
PIL,
Kayak,
Scrapy,
Prince Buster,
The Cosmic Jokers,
Guru Guru,
These Immortal Souls,
The Blackbyrds,
Josef K,
Negative Approach,
The Index,
The Happenings,
Joensuu 1685,
Tomorrow,
The Durutti Column,
Tropical Tobacco,
John Lydon,
Angels of Light & Akron/Family,
Sandy B,
Grandmaster Flash,
Oneida,
The Invisible,
Roy Ayers,
DeepChord presents Echospace,
The Golliwogs,
Juan Atkins,
Bobby Hutcherson,
Rosa Yemen,
Notorious Big And Bone Thugs,
Aural Exciters,
Royal Trux,
Pierre Henry,
Captain Beefheart & His Magic Band,
Unrelated Segments,
Nation of Ulysses,
Black Sheep,
Bobbi Humphrey,
Marvin Gaye,
The Offenders,
Scion,
The Buckinghams,
Lower 48,
Blossom Toes,
The Blues Magoos,
Tom Boy,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.