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 Bangladesh and from Johannesburg.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Delhi and Taipei.
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 harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Arthur Verocai to the rap 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 Vogues. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Public Image Ltd. record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Sister Nancy,
Darondo,
Maurizio,
Jacob Miller,
Dead Boys,
Lucky Dragons,
Rakim,
DJ Sneak,
Joensuu 1685,
The American Breed,
Bobby Sherman,
Sarah Menescal,
Silicon Teens,
Underground Resistance,
Severed Heads,
Porter Ricks,
DNA,
Brothers Johnson,
Sun Ra Arkestra,
Jacques Brel,
The Young Rascals,
Frankie Knuckles,
Sound Behaviour,
Pet Shop Boys,
Pagans,
Rosa Yemen,
Dark Day,
Ralphi Rosario,
Gang Green,
Bush Tetras,
Matthew Bourne,
Jeff Lynne,
The Invisible,
Kango’s Stein Massive,
Tres Demented,
The Remains,
Art Ensemble Of Chicago,
Suburban Knight,
Glambeats Corp.,
Bad Manners,
Quando Quango,
Glenn Branca,
Circle Jerks,
Thompson Twins,
Ludus,
Television Personalities,
The Fire Engines,
Barrington Levy,
DJ Style,
Kevin Saunderson,
The Moody Blues,
Graham Central Station,
Röyhkä ja Rättö ja Lehtisalo,
The Sound,
Rahsaan Roland Kirk,
The Kinks,
The Martian,
Shoche,
The Standells,
The Star Department,
Blossom Toes,
The Barracudas,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.