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 Zambia and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Taipei 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 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 Public Enemy to the jazz 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 Alton Ellis. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Rapeman 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q and Not U,
Sly & The Family Stone,
Jesper Dahlback,
Mantronix,
Red Lorry Yellow Lorry,
John Coltrane,
Main Source,
Porter Ricks,
a-ha,
Dorothy Ashby,
Camouflage,
Circle Jerks,
Gian Franco Pienzio,
The Slits,
R.M.O.,
Pagans,
Bob Dylan,
Soul Sonic Force,
Parry Music,
Prince Buster,
Roy Ayers,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Major Organ And The Adding Machine,
Wasted Youth,
Visage,
Barry Ungar,
H. Thieme,
Sparks,
Tres Demented,
Liliput,
Warsaw,
Alton Ellis,
Wally Richardson,
The Five Americans,
Bobby Sherman,
Minnie Riperton,
Essential Logic,
The Detroit Cobras,
The Monks,
The Skatalites,
Smog,
Hashim,
Kas Product,
Grandmaster Flash and the Furious Five,
Visionaries,LMNO, T- Love & Iriscience,
Japan,
The Sound,
Soul II Soul,
F. McDonald,
KRS-One,
Soft Machine,
Rahsaan Roland Kirk,
Crispian St. Peters,
Deakin,
Suburban Knight,
PIL,
Jimmy McGriff,
Moby Grape,
Icehouse,
Lou Reed & Metallica,
Ludus,
Fear,
Country Teasers,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.