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 South Sudan and from Tehran.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Calgary and Bremen.
I'm losing my edge to the art-school Paris 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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Hashim to the grime 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 Michelle Simonal. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your linndrum and bought a 808.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sunsets and Hearts,
The Raincoats,
Flamin' Groovies,
This Heat,
B.T. Express,
The Mummies,
Crooked Eye,
Saccharine Trust,
Howard Jones,
The Cure,
Bauhaus,
The Offenders,
London Community Gospel Choir,
Pole,
JFA,
Super Lover Cee & Casanova Rud,
Gil Scott-Heron & Brian Jackson,
John Coltrane,
Dorothy Ashby,
The Leaves,
Yazoo,
Orchestral Manoeuvres in the Dark,
Brass Construction,
Skaos,
the Soft Cell,
Sonic Youth,
Roger Hodgson,
Eden Ahbez,
Young Marble Giants,
Sam Rivers,
Notorious BIG live in Amsterdam,
Guru Guru,
Jeru the Damaja,
Camron Feat. Jay Z And Juelz,
Funky Four + One,
The Moleskins,
Cal Tjader,
Fear,
Faraquet,
Graham Central Station,
The Techniques,
Sparks,
Main Source,
Anthony Braxton,
Bob Dylan,
The Beau Brummels,
Roxette,
Patti Smith,
Matthew Halsall,
Depeche Mode,
The Golliwogs,
Severed Heads,
Pylon,
Drive Like Jehu,
Bill Wells,
Moss Icon,
The Music Machine,
James White and The Blacks,
Maurizio,
Lalann,
Country Teasers,
Marcia Griffiths,
the Human League,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.