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 Uzbekistan and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1964 to 1971.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Mumbai 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 clarinet 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 Slave to the dance kids.
I played it at the Roxy.
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 Leonard Cohen. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal punk 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 güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool Moe Dee,
Inner City,
Excepter,
Rhythm & Sound,
Echospace,
EPMD,
Qualms,
Nas,
F. McDonald,
Supertramp,
The Mighty Diamonds,
Derrick May,
Albert Ayler,
Scrapy,
The Pretty Things,
The Neon Judgement,
Whodini,
Roxy Music,
Liliput,
Grauzone,
Brothers Johnson,
The American Breed,
Harry Pussy,
The Tremeloes,
Q and Not U,
Electric Light Orchestra,
Neil Young,
Banda Bassotti,
Motorama,
Pagans,
The Royal Family And The Poor,
Y Pants,
ABC,
Glambeats Corp.,
Sound Behaviour,
The Toasters,
Zero Boys,
Angry Samoans,
Neil Young & Crazy Horse,
Chris & Cosey,
World's Most,
Sexual Harrassment,
Derrick Morgan,
Mandrill,
Neu!,
The Cramps,
Chris Corsano,
Mad Mike,
Andrew Ashong & Theo Parrish,
Eli Mardock,
The Angels of Light,
LL Cool J,
John Lydon,
Masters at Work,
Jesper Dahlback,
John Holt,
The Last Poets,
The Motions,
Audionom,
Piero Umiliani, Piero Umiliani, Piero Umiliani, Piero Umiliani.
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.