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 Korea South and from Glasgow.
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 1963 to 1974.
I'm losing my edge.
To all the kids in New York and Seoul.
I'm losing my edge to the art-school Winnipeg 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Raincoats to the rock kids.
I played it at the Spitz.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Peter & Gordon,
Barry Ungar,
Sun Ra Arkestra,
Oblivians,
Technova,
Black Bananas,
Infiniti,
Delta 5,
48th St. Collective,
Electric Prunes,
Andrew Hill,
The Angels of Light,
Brothers Johnson,
Tom Boy,
Pharoah Sanders,
Smog,
Agitation Free,
Section 25,
Liaisons Dangereuses,
Albert Ayler,
Thee Headcoats,
Tomorrow,
Procol Harum,
Avey Tare,
Todd Rundgren,
Funky Four + One,
Fluxion,
Tres Demented,
Deepchord,
Intrusion,
The Selecter,
Scientists,
Au Pairs,
Connie Case,
Crash Course in Science,
Howard Jones,
The Stooges,
Kurtis Blow,
The United States of America,
Marc Romboy vs. Booka Shade,
Rod Modell,
Joensuu 1685,
The Real Kids,
F. McDonald,
The Beau Brummels,
Robert Wyatt,
Sad Lovers and Giants,
Nik Kershaw,
Lafayette Afro Rock Band,
Mandrill,
Depeche Mode,
Manfred Mann's Earth Band,
Easy Going,
Anakelly,
Alton Ellis,
Minor Threat,
Minny Pops,
Robert Görl,
John Lydon, John Lydon, John Lydon, John Lydon.
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.