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 Somalia and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Bremen 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 sitar sounds with much patience.
I was there when David Bowie 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 Human League to the crunk kids.
I played it at the Roxy.
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 T. Rex. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Dawn Penn,
The Detroit Cobras,
Derrick May,
Alphaville,
8 Eyed Spy,
Archie Shepp,
Sister Nancy,
Gang Green,
Pagans,
Country Teasers,
The Walker Brothers,
The Residents,
Drexciya,
The Jesus and Mary Chain,
Wolf Eyes,
Saccharine Trust,
Lou Reed & Metallica,
Louis and Bebe Barron,
Black Moon,
Second Layer,
Glambeats Corp.,
The Slits,
Livin' Joy,
Tres Demented,
the Normal,
The West Coast Pop Art Experimental Band,
Kevin Saunderson,
Fear,
Jeru the Damaja,
Barrington Levy,
The Invisible,
Barry Ungar,
Lafayette Afro Rock Band,
Marvin Gaye,
Angels of Light & Akron/Family,
AZ,
The Evens,
CMW,
Joyce Sims,
Gil Scott-Heron and Jamie xx,
Roger Hodgson,
Hashim,
Marshall Jefferson,
Panda Bear,
Reuben Wilson,
The Dave Clark Five,
Grandmaster Flash,
John Coltrane,
Jacques Brel,
Joensuu 1685,
Ken Boothe,
The Selecter,
Silicon Teens,
Negative Approach,
The Sisters of Mercy,
Glenn Branca,
Rufus Thomas,
The Divine Comedy,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.