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 Armenia and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1976.
I'm losing my edge.
To all the kids in Taipei and Accra.
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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Johnny Osbourne to the dance kids.
I played it at the Astoria.
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 Dark Day. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every Con Funk Shun 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 '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Nick Cave & The Bad Seeds,
Johnny Clarke,
Country Joe & The Fish,
Arcadia,
The Toasters,
James White and The Blacks,
Bill Wells,
Michelle Simonal,
Ultravox,
Suburban Knight,
Stereo Dub,
The Remains,
CMW,
Kango’s Stein Massive,
Notorious Big And Bone Thugs,
Jesper Dahlbäck,
Eli Mardock,
Essential Logic,
X-Ray Spex,
Tim Buckley,
Jerry's Kids,
Derrick Morgan,
Gang Gang Dance,
Tom Boy,
Cal Tjader,
Stockholm Monsters,
The Dead C,
LL Cool J,
The Men They Couldn't Hang,
Circle Jerks,
Lou Reed & Metallica,
Man Parrish,
Sexual Harrassment,
ABBA,
Big Daddy Kane,
Popol Vuh,
the Soft Cell,
Jeff Lynne,
Eyeless In Gaza,
Manfred Mann's Earth Band,
Boredoms,
Audionom,
The Offenders,
Inner City,
The Fall,
Ash Ra Tempel,
Reagan Youth,
Masters at Work,
John Foxx,
The Standells,
June of 44,
Mad Mike,
Godley & Creme,
X-102,
Animal Collective,
Pere Ubu,
Pagans,
Ultra Naté,
Joyce Sims,
The Selecter,
Banda Bassotti,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.