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 Honduras and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Hong Kong 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 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 Babytalk to the rock kids.
I played it at the Troubador.
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 Fuzztones. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Oneida,
Kevin Saunderson,
Lee Hazlewood,
Vaughan Mason & Crew,
Larry & the Blue Notes,
Sun City Girls,
Delon & Dalcan,
Lalann,
Bronski Beat,
Reagan Youth,
Neil Young & Crazy Horse,
Gabor Szabo,
The Blackbyrds,
Adolescents,
Black Bananas,
Guru Guru,
Hot Snakes,
Toni Rubio,
The Invisible,
Interpol,
Frankie Knuckles,
Black Moon,
JFA,
Half Japanese,
Crispian St. Peters,
Maleditus Sound,
Lalo Schifrin,
Blancmange,
KRS-One,
Arthur Verocai,
Swans,
Scrapy,
The Walker Brothers,
Avey Tare's Slasher Flicks,
Kas Product,
Alison Limerick,
Essential Logic,
cv313,
Surgeon,
Newcleus,
The Barracudas,
John Lydon,
Wolf Eyes,
Black Pus,
X-Ray Spex,
The Flesh Eaters,
Slick Rick,
Parry Music,
Wally Richardson,
Clear Light,
Derrick May,
Rekid,
Steve Hackett,
China Crisis,
Boogie Down Productions,
Television Personalities,
Black Flag,
Neil Young,
Aswad,
Soft Machine,
Isaac Hayes,
Sonic Youth,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.