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 Bhutan and from Philadelphia.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Sound Behaviour 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 Zero Boys. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Gabor Szabo,
Richard Hell and the Voidoids,
Teenage Jesus and the Jerks,
Saccharine Trust,
Minutemen,
Avey Tare & Kría Brekkan,
Minor Threat,
Moebius,
DNA,
The Slits,
Vainqueur,
Terry Callier,
Warsaw,
Jerry's Kids,
Wire,
B.T. Express,
Skarface,
Ralphi Rosario,
Donald Byrd,
Eric Copeland,
Fatback Band,
Lalann,
Wolf Eyes,
Kings Of Tomorrow,
Kango’s Stein Massive,
The Grass Roots,
Bush Tetras,
Eden Ahbez,
Roxy Music,
Icehouse,
Idris Muhammad,
Spandau Ballet,
Sex Pistols,
Todd Terry,
Larry & the Blue Notes,
Basic Channel,
Wasted Youth,
Rahsaan Roland Kirk,
the Normal,
Gang Starr,
Wighnomy Brothers & Robag Wruhme,
Ludus,
the Sonics,
Absolute Body Control,
Rosa Yemen,
The Victims,
Sonic Youth,
Aural Exciters,
Mantronix,
Magma,
Soft Machine,
Agitation Free,
Cluster,
Sexual Harrassment,
Drexciya,
Matthew Halsall,
La Düsseldorf,
Yaz,
John Coltrane,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.