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 Zambia and from Taipei.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Tokyo 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 oboe sounds with much patience.
I was there when Lou Reed 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 Idris Muhammad to the techno kids.
I played it at the 40 Watt.
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 Marmalade. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Black Flag record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Peter & Gordon,
Essential Logic,
London Community Gospel Choir,
Steve Hackett,
Aswad,
Harry Pussy,
Big Daddy Kane,
the Germs,
Soul Sonic Force,
X-102,
Vladislav Delay,
Sister Nancy,
Flash Fearless,
Slick Rick,
New Order,
Freddie Wadling,
One Last Wish,
Urselle,
Mad Mike,
Connie Case,
Juan Atkins,
Fad Gadget,
Tim Buckley,
Quando Quango,
Con Funk Shun,
Jeff Lynne,
The Gap Band,
Man Eating Sloth,
Echospace,
Dorothy Ashby,
Chrome,
Joe Smooth,
New York Dolls,
Tres Demented,
The United States of America,
Sad Lovers and Giants,
Laurel Aitken,
The Residents,
Porter Ricks,
The Durutti Column,
De La Soul & Jungle Brothers,
Kayak,
Rosa Yemen,
Prince Buster,
Malaria!,
Gang Gang Dance,
Johnny Clarke,
Arthur Verocai,
Basic Channel,
PIL,
Lightning Bolt,
Soul II Soul,
Oblivians,
The Last Poets,
Saccharine Trust,
Nation of Ulysses,
T.S.O.L.,
Lyres,
Donald Byrd,
The Five Americans,
Red Lorry Yellow Lorry,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.