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 Germany and from Milan.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Index to the grime kids.
I played it at the Troubador.
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 Minnie Riperton. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
DJ Style,
Ken Boothe,
Girls At Our Best!,
Khruangbin,
The Wake,
Pantytec,
Kerrie Biddell,
Pylon,
Scientists,
The United States of America,
The Saints,
Alison Limerick,
Richard Hell and the Voidoids,
Public Image Ltd.,
Louis and Bebe Barron,
48th St. Collective,
Josef K,
This Heat,
The Toasters,
Warren Ellis,
Aloha Tigers,
Surgeon,
The Doors,
Scion,
Organ,
Sun City Girls,
The Birthday Party,
The Pretty Things,
Eric Dolphy,
Eden Ahbez,
The Happenings,
Gong,
Slick Rick,
Tropical Tobacco,
Althea and Donna,
Judy Mowatt,
Soul II Soul,
Bizarre Inc.,
The Chocolate Watch Band,
Hasil Adkins,
Thee Headcoats,
Eric B and Rakim,
Archie Shepp,
Zapp,
Roy Ayers,
Pere Ubu,
James White and The Blacks,
Kaleidoscope,
CMW,
Sarah Menescal,
Radio Birdman,
Max Romeo,
Essential Logic,
Barbara Tucker,
Nation of Ulysses,
London Community Gospel Choir,
Harpers Bizarre,
Shoche,
Tomorrow,
Sugar Minott,
Clear Light, Clear Light, Clear Light, Clear Light.
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.