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 Brazil and from Taipei.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in London and London.
I'm losing my edge to the art-school Mexico City 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Tom Boy to the rock kids.
I played it at Trash.
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 EPMD. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Make Up 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 '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Maurizio record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ten City,
Tubeway Army,
Half Japanese,
Alice Coltrane,
The Misunderstood,
Brothers Johnson,
Scrapy,
Brass Construction,
Suicide,
Fatback Band,
The Real Kids,
John Lydon,
Rowland S Howard / Lydia Lunch,
Spandau Ballet,
Sunsets and Hearts,
the Slits,
Dual Sessions,
De La Soul & Jungle Brothers,
Peter & Gordon,
It's A Beautiful Day,
Marc Romboy vs. Booka Shade,
Sad Lovers and Giants,
ABBA,
Yaz,
The Smiths,
Wasted Youth,
Jacques Brel,
Davy DMX,
Alton Ellis,
The Dirtbombs,
Fela Kuti,
The Techniques,
Oneida,
The Neon Judgement,
Mantronix,
the Association,
Be Bop Deluxe,
Todd Terry,
Heavy D & The Boyz,
Jerry's Kids,
Metal Thangz,
Liliput,
JFA,
Gil Scott Heron,
Jeff Lynne,
The Wake,
The Leaves,
Trumans Water,
The Slits,
James White and The Blacks,
Lyres,
The United States of America,
The Electric Prunes,
Gichy Dan,
Harry Pussy,
The Gap Band,
Cecil Taylor,
Kool Moe Dee,
Sight & Sound,
Livin' Joy,
Faust,
The Fall, The Fall, The Fall, The Fall.
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.