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 Hungary and from New York.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and Halifax.
I'm losing my edge to the art-school Woodstock 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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Youth Brigade to the crunk kids.
I played it at the Hacienda.
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 Young Marble Giants. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Television 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 '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
10cc,
Avey Tare,
Ronan,
Orchestral Manoeuvres in the Dark,
Jerry Gold Smith,
Ludus,
The Durutti Column,
Suburban Knight,
Deakin,
Major Organ And The Adding Machine,
Gary Puckett & The Union Gap,
Shoche,
Niagra,
Joyce Sims,
Pierre Henry,
DNA,
Eli Mardock,
Janne Schatter,
Thompson Twins,
T.S.O.L.,
The Gap Band,
Ponytail,
Graham Central Station,
Freddie Wadling,
Rapeman,
X-101,
Television Personalities,
China Crisis,
Arcadia,
AZ,
Alton Ellis,
Josef K,
Wasted Youth,
Junior Murvin,
Radio Birdman,
The Vogues,
Black Flag,
Rhythm & Sound,
Q and Not U,
Ultimate Spinach,
Moby Grape,
Public Image Ltd.,
Fela Kuti,
CMW,
Maleditus Sound,
Lightning Bolt,
Strawberry Alarm Clock,
The Fall,
Kool G Rap & DJ Polo,
Visage,
The Martian,
The Fire Engines,
New Age Steppers,
Slave,
Trumans Water,
Country Joe & The Fish,
Minnie Riperton,
Peter Gordon & Love of Life Orchestra,
Alice Coltrane,
Dual Sessions,
Johnny Clarke,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.