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 Mauritius and from Portland.
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 1973.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Manchester 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Motorama to the jazz 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 Soul Sonic Force. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cameo record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
The Invisible,
The Residents,
Angry Samoans,
The Offenders,
Nas,
Boredoms,
Crash Course in Science,
The Blues Magoos,
Avey Tare,
Shuggie Otis,
Vainqueur,
The Human League,
Gian Franco Pienzio,
The Smoke,
Cheater Slicks,
Eve St. Jones,
Gil Scott-Heron & Brian Jackson,
Soul II Soul,
Deepchord,
Khruangbin,
De La Soul & Jungle Brothers,
Livin' Joy,
Big Daddy Kane,
Joe Smooth,
Oneida,
the Sonics,
Laurel Aitken,
Michelle Simonal,
Gastr Del Sol,
Gang Starr,
Electric Prunes,
the Human League,
Moebius,
Negative Approach,
Mo-Dettes,
Louis and Bebe Barron,
Sonic Youth,
Kauko Röyhkä ja Narttu,
Basic Channel,
Arthur Verocai,
Lafayette Afro Rock Band,
The Sisters of Mercy,
Kool G Rap & DJ Polo,
Chrome,
Whodini,
Drive Like Jehu,
Amon Düül II,
The Fuzztones,
The Mojo Men,
Bizarre Inc.,
Grandmaster Flash and the Furious Five,
Harmonia,
Grandmaster Flash,
It's A Beautiful Day,
Nation of Ulysses,
Erasure,
John Cale,
Monolake,
Crispian St. Peters,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.