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 Nigeria and from Madrid.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Oppenheimer Analysis to the disco kids.
I played it at the Crocodile.
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 Slackers. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Patti Smith 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Derrick Morgan,
Roxy Music,
Main Source,
Eric Dolphy,
Black Flag,
Derrick May,
Animal Collective,
The Blackbyrds,
Sun Ra,
Freddie Wadling,
Delta 5,
Jeff Mills,
Aloha Tigers,
Ronan,
Sandy B,
The Tremeloes,
Subhumans,
KRS-One,
Technova,
Marvin Gaye,
The Monks,
Silicon Teens,
Henry Cow,
A Certain Ratio,
Mission of Burma,
Stiv Bators,
Eyeless In Gaza,
Khruangbin,
Roger Hodgson,
Archie Shepp,
Niagra,
Funkadelic,
Arcadia,
Scrapy,
Unrelated Segments,
Intrusion,
The Raincoats,
Slave,
The Golliwogs,
Davy DMX,
Y Pants,
Yellowson,
Röyhkä ja Rättö ja Lehtisalo,
The J.B.'s,
The Toasters,
Barrington Levy,
DNA,
Radio Birdman,
Accadde A,
The Five Americans,
The Alarm Clocks,
Kas Product,
Gang of Four,
The Stooges,
The Knickerbockers,
Flash Fearless,
Teenage Jesus and the Jerks,
cv313,
Duran Duran,
Juan Atkins,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.