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 Lithuania and from Manchester.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
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 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 Robert Palmer 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 Hashim to the dance 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 Tomorrow. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Half Japanese 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Yusef Lateef,
Q65,
The Slackers,
Blake Baxter,
Pere Ubu,
Bob Dylan,
Dave Gahan,
Lafayette Afro Rock Band,
David Axelrod,
Dawn Penn,
Charles Mingus,
Maleditus Sound,
Pussy Galore,
De La Soul & Jungle Brothers,
Jimmy McGriff,
Drive Like Jehu,
Buzzcocks,
Suicide,
Heavy D & The Boyz,
Minor Threat,
U.S. Maple,
Soul II Soul,
The Happenings,
Ultramagnetic MC's,
Outsiders,
Crash Course in Science,
10cc,
The Smoke,
Joyce Sims,
Country Teasers,
Bobby Sherman,
Leonard Cohen,
Neil Young,
The J.B.'s,
June of 44,
Radio Birdman,
Eddi Front,
Inner City,
Soulsonic Force,
Todd Terry,
Basic Channel,
Vaughan Mason & Crew,
The Golliwogs,
Sam Rivers,
The Red Krayola,
Howard Jones,
The Gun Club,
Can,
Rosa Yemen,
Art Ensemble Of Chicago,
cv313,
Alice Coltrane,
Kauko Röyhkä ja Narttu,
Dual Sessions,
The Dirtbombs,
Angry Samoans,
Sexual Harrassment,
Graham Central Station,
Gil Scott Heron,
Kurtis Blow,
Sound Behaviour,
Suburban Knight,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.