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 Comoros and from Lyon.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Bremen.
I'm losing my edge to the art-school Edmonton 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 sitar 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 The Mummies to the disco kids.
I played it at CBGB's.
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 PIL. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Cecil Taylor 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pantytec record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Goldenarms,
Subhumans,
Nick Fraelich,
Clear Light,
Urselle,
Minutemen,
A Flock of Seagulls,
The Evens,
Lizzy Mercier Descloux,
Heaven 17,
Ultramagnetic MC's,
Roxy Music,
Alice Coltrane,
Kas Product,
Los Fastidios,
Al Stewart,
L. Decosne,
Unrelated Segments,
Jawbox,
Public Enemy,
These Immortal Souls,
Ituana,
The Fire Engines,
Ajijia Myrayebe,
Crash Course in Science,
Wally Richardson,
Echospace,
Crooked Eye,
Bluetip,
LL Cool J,
Soul II Soul,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
DJ Style,
the Association,
Joensuu 1685,
Newcleus,
Sly & The Family Stone,
Tom Boy,
Electric Light Orchestra,
Pagans,
Deutsch Amerikanische Freundschaft,
The Five Americans,
Wasted Youth,
Cabaret Voltaire,
Nico,
Aaron Thompson,
Barclay James Harvest,
Soulsonic Force,
Motorama,
The J.B.'s,
Nation of Ulysses,
Spoonie Gee,
Spandau Ballet,
Gang Starr,
Severed Heads,
Young Marble Giants,
Pere Ubu,
Joe Finger,
The Walker Brothers,
Tommy Roe, Tommy Roe, Tommy Roe, Tommy Roe.
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.