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 El Salvador and from Manchester.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1965 to 1977.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Little Man to the electroclash 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 Eden Ahbez. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every the Human League record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Wally Richardson,
Country Teasers,
Nas,
Quadrant,
The Cowsills,
Warsaw,
Electric Prunes,
Marmalade,
Wasted Youth,
Maleditus Sound,
David Axelrod,
Kurtis Blow,
Stereo Dub,
David Bowie,
Pantaleimon,
Massinfluence,
Lizzy Mercier Descloux,
The Gladiators,
New Order,
Procol Harum,
Gichy Dan,
K-Klass,
Flipper,
Andrew Hill,
Model 500,
T.S.O.L.,
Swans,
ABC,
The Kinks,
Scrapy,
Roy Ayers Ubiquity,
Sight & Sound,
The Doors,
Chris & Cosey,
Rod Modell,
48th St. Collective,
London Community Gospel Choir,
KRS-One,
Pere Ubu,
The Names,
Grandmaster Flash,
Parry Music,
The Slackers,
Jimmy McGriff,
Big Daddy Kane,
Essential Logic,
Jawbox,
Toni Rubio,
Eyeless In Gaza,
Connie Case,
Q65,
Gil Scott Heron,
Tomorrow,
World's Most,
Grandmaster Flash and the Furious Five,
Yazoo,
Tom Boy,
Isaac Hayes,
Man Parrish,
The Black Dice,
Camberwell Now,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.