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 Suriname and from Milan.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Madrid 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Toni Rubio to the grime kids.
I played it at Cafe Wha.
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 The Invisible. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Godley & Creme,
Black Bananas,
Joyce Sims,
Ponytail,
Wings,
Eden Ahbez,
Sly & The Family Stone,
Amon Düül II,
Popol Vuh,
The Fugs,
Magazine,
Bush Tetras,
Bobby Sherman,
Symarip,
Liliput,
Aswad,
Johnny Clarke,
Darondo,
The Birthday Party,
Second Layer,
Echo & the Bunnymen,
Graham Central Station,
The Selecter,
Parry Music,
Selector Dub Narcotic,
The Chocolate Watch Band,
the Swans,
Whodini,
Patti Smith,
Khruangbin,
Nation of Ulysses,
Lakeside,
Big Daddy Kane,
Terror Squad Feat. Camron,
Faraquet,
Harpers Bizarre,
London Community Gospel Choir,
The Dave Clark Five,
Spoonie Gee,
The Human League,
Be Bop Deluxe,
U.S. Maple,
Agitation Free,
DJ Sneak,
Ultimate Spinach,
Jesper Dahlbäck,
Y Pants,
Mr. Review,
Tom Boy,
Avey Tare & Kría Brekkan,
Byron Stingily,
The Evens,
Technova,
Justin Hinds & The Dominoes,
Reagan Youth,
Boredoms,
The Count Five,
Zero Boys,
Radiohead,
The Remains,
The Leaves,
Sonic Youth,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.