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 Tuvalu and from Columbus.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Bremen and Beijing.
I'm losing my edge to the art-school Manila 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 funk 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 The Techniques. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every The Fortunes 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 '60s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Nik Kershaw,
Connie Case,
Harmonia,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Notorious Big And Bone Thugs,
Hot Snakes,
The Divine Comedy,
The American Breed,
Young Marble Giants,
Tres Demented,
The Buckinghams,
June Days,
the Bar-Kays,
Marvin Gaye,
Arab on Radar,
48th St. Collective,
Guru Guru,
Larry & the Blue Notes,
Dr. Dre and Snoop Doggy Dog,
Spandau Ballet,
Country Joe & The Fish,
Siouxsie and the Banshees,
June of 44,
Lalann,
Shoche,
Mark Hollis,
Barrington Levy,
The Grass Roots,
Lafayette Afro Rock Band,
H. Thieme,
JFA,
Average White Band,
Matthew Bourne,
Blake Baxter,
Wings,
The Leaves,
Kool G Rap & DJ Polo,
EPMD,
Oblivians,
The Last Poets,
Pierre Henry,
Gian Franco Pienzio,
Monks,
The Cowsills,
Quadrant,
Ultravox,
The Red Krayola,
Cybotron,
Monolake,
Electric Prunes,
Robert Hood,
Banda Bassotti,
Siglo XX,
London Community Gospel Choir,
Johnny Clarke,
Josef K,
The Knickerbockers,
Roxy Music,
cv313,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.