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 Burundi and from Columbus.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Toronto 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Bill Near to the disco 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 Hasil Adkins. All the underground hits.
All The Seeds tracks. I heard you have a vinyl of every The Residents record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Peter and Kerry,
Wally Richardson,
Harry Pussy,
Juan Atkins,
The Sound,
Infiniti,
Rotary Connection,
Siglo XX,
Von Mondo,
Q and Not U,
Pantytec,
Boogie Down Productions,
The Doobie Brothers,
Lonnie Liston Smith,
The Black Dice,
The Jesus and Mary Chain,
Nirvana,
The Mighty Diamonds,
Lizzy Mercier Descloux,
Grandmaster Flash,
The Trojans,
A Certain Ratio,
Gerry Rafferty,
The Evens,
Negative Approach,
Hardrive,
Black Pus,
48th St. Collective,
Althea and Donna,
The Beau Brummels,
Roxy Music,
The Cowsills,
Index,
The Neon Judgement,
Notorious Big And Bone Thugs,
Rakim,
T. Rex,
Deutsch Amerikanische Freundschaft,
Sun Ra Arkestra,
Drexciya,
Mantronix,
U.S. Maple,
Silicon Teens,
Buzzcocks,
Crime,
Pulsallama,
The Blues Magoos,
Q65,
Moby Grape,
Bauhaus,
Altered Images,
Joensuu 1685,
Terrestrial Tones,
cv313,
Los Fastidios,
The Techniques,
The Residents,
Anakelly,
Albert Ayler,
The Red Krayola,
Terror Squad Feat. Camron,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.