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 Grenada and from Mexico City.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Ken Boothe to the dance 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 Gil Scott Heron. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Aswad,
The Invisible,
The Beau Brummels,
Outsiders,
Boredoms,
Monks,
Lightning Bolt,
Groovy Waters,
Jeff Mills,
Kerrie Biddell,
Skaos,
JFA,
Red Lorry Yellow Lorry,
Marc Almond,
Blossom Toes,
Ronnie Foster,
Gil Scott Heron,
Rekid,
Reagan Youth,
Gary Puckett & The Union Gap,
H. Thieme,
Gil Scott-Heron and Jamie xx,
Harpers Bizarre,
Funky Four + One,
Connie Case,
Kool G Rap & DJ Polo,
Tomorrow,
The Tremeloes,
cv313,
Q65,
China Crisis,
Crispy Ambulance,
Donny Hathaway,
The Durutti Column,
Lafayette Afro Rock Band,
Heavy D & The Boyz,
Khruangbin,
Lalo Schifrin,
Radio Birdman,
B.T. Express,
The Victims,
Nirvana,
Terry Callier,
The Detroit Cobras,
Excepter,
Rites of Spring,
Lizzy Mercier Descloux,
Patti Smith,
Fad Gadget,
Bob Dylan,
Be Bop Deluxe,
One Last Wish,
Michelle Simonal,
Hashim,
KRS-One,
Silicon Teens,
De La Soul & Jungle Brothers,
Rotary Connection,
Public Image Ltd.,
MDC,
The Vogues, The Vogues, The Vogues, The Vogues.
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.