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 Cambodia and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1975.
I'm losing my edge.
To all the kids in Mumbai and New York.
I'm losing my edge to the art-school Beijing 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Oneida to the punk 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 Scrapy. All the underground hits.
All Brothers Johnson tracks. I heard you have a vinyl of every The Young Rascals record on German import.
I heard that you have a white label of every seminal funk 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Big Daddy Kane,
Pagans,
Robert Wyatt,
Mark Hollis,
Blancmange,
Eric Dolphy,
Oneida,
Fatback Band,
Soft Machine,
Lucky Dragons,
Theoretical Girls,
Spoonie Gee,
Dual Sessions,
Juan Atkins,
Scrapy,
Toni Rubio,
Kerrie Biddell,
Jesper Dahlbäck,
Teenage Jesus and the Jerks,
Byron Stingily,
Lightning Bolt,
Sonic Youth,
Bobby Sherman,
New Order,
Bobby Byrd,
Reagan Youth,
Soulsonic Force,
Ronan,
The Men They Couldn't Hang,
Babytalk,
The Evens,
Camberwell Now,
Kango’s Stein Massive,
Gil Scott-Heron and Jamie xx,
Boogie Down Productions,
Flamin' Groovies,
Crime,
Radio Birdman,
Tim Buckley,
Public Image Ltd.,
Gastr Del Sol,
The Knickerbockers,
Scott Walker + Sunn O))),
Bob Dylan,
Sunsets and Hearts,
Sad Lovers and Giants,
The Human League,
Rosa Yemen,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Circle Jerks,
X-Ray Spex,
Siglo XX,
Johnny Osbourne,
Mary Jane Girls,
The Moleskins,
The Cowsills,
Second Layer,
Dennis Brown,
Severed Heads,
Freddie Wadling,
Bizarre Inc.,
Harmonia,
Little Man, Little Man, Little Man, Little Man.
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.