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 Mali and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Seoul 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 chamberlin 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 Metal Thangz to the rap kids.
I played it at Cafe Wha.
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 Be Bop Deluxe. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Brothers Johnson 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Sun City Girls,
X-101,
Fela Kuti,
Althea and Donna,
Eve St. Jones,
Yusef Lateef,
Stereo Dub,
The Count Five,
Pulsallama,
Fad Gadget,
Big Daddy Kane,
Davy DMX,
Grandmaster Flash,
Magma,
The Five Americans,
One Last Wish,
Tres Demented,
MDC,
Mars,
Dawn Penn,
The Martian,
In Retrospect,
Gastr Del Sol,
DeepChord presents Echospace,
Kas Product,
Roxy Music,
Arab on Radar,
Lou Reed,
Schoolly D,
Andrew Hill,
Angry Samoans,
Cybotron,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Panda Bear,
Unrelated Segments,
Easy Going,
Pagans,
Blossom Toes,
Jesper Dahlback,
Delta 5,
Marc Romboy vs. Booka Shade,
Porter Ricks,
Crime,
Pylon,
The Music Machine,
Lou Christie,
Roger Hodgson,
Warsaw,
Average White Band,
Little Man,
The Gun Club,
New Order,
Deakin,
Wire,
K-Klass,
Lucky Dragons,
Delon & Dalcan,
It's A Beautiful Day,
Josef K,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.