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 Romania and from Houston.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Tehran and Columbus.
I'm losing my edge to the art-school Manchester 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 Tom Verlaine 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 Pete Rock & C.L. Smooth to the rap kids.
I played it at the Roxy.
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 Man Parrish. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
The Selecter,
Angry Samoans,
June Days,
Skarface,
Minny Pops,
Rod Modell,
Pet Shop Boys,
The Doors,
Massinfluence,
Procol Harum,
Magma,
Patti Smith,
Ash Ra Tempel,
The Star Department,
The Pretty Things,
The Standells,
Hashim,
Andrew Hill,
Lindisfarne,
Lafayette Afro Rock Band,
Junior Murvin,
Shuggie Otis,
The Move,
the Bar-Kays,
Basic Channel,
Inner City,
Big Daddy Kane,
Electric Light Orchestra,
New York Dolls,
Fluxion,
Ossler,
Eyeless In Gaza,
Spoonie Gee,
It's A Beautiful Day,
Thompson Twins,
Maurizio,
Yazoo,
Cabaret Voltaire,
Bobby Byrd,
Leonard Cohen,
Arcadia,
Masters at Work,
Bill Near,
The Cramps,
Cluster,
Radio Birdman,
Sun Ra Arkestra,
Pierre Henry,
Derrick Morgan,
The Music Machine,
Colin Newman,
Ken Boothe,
Hot Snakes,
Ten City,
The Litter,
EPMD,
Marc Romboy vs. Booka Shade,
Chris Corsano,
The Pop Group,
Boredoms,
Peter Gordon & Love of Life Orchestra,
the Normal,
The Mummies, The Mummies, The Mummies, The Mummies.
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.