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 Austria and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Throbbing Gristle to the rap kids.
I played it at the Astoria.
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 Yellowson. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every Gang Gang Dance record on German import.
I heard that you have a white label of every seminal disco 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Flipper,
Peter & Gordon,
Letta Mbulu,
Gang Green,
Pulsallama,
Motorama,
Moebius,
Kurtis Blow,
The Searchers,
In Retrospect,
Isaac Hayes,
The Neon Judgement,
the Normal,
The Fortunes,
Reagan Youth,
Steve Hackett,
Stiv Bators,
The Mojo Men,
World's Most,
E-Dancer,
Vainqueur,
The Star Department,
Eric Copeland,
Crash Course in Science,
Terrestrial Tones,
Newcleus,
CMW,
Gian Franco Pienzio,
The Offenders,
Jacob Miller,
Yusef Lateef,
LL Cool J,
Country Joe & The Fish,
Model 500,
Moss Icon,
Soul Sonic Force,
Derrick Morgan,
DJ Style,
Big Daddy Kane,
Black Bananas,
Basic Channel,
Graham Central Station,
Robert Görl,
Warren Ellis,
Brothers Johnson,
The Misunderstood,
Tom Boy,
The Mighty Diamonds,
Larry & the Blue Notes,
Rahsaan Roland Kirk,
Groovy Waters,
JFA,
Scientists,
The Residents,
Bronski Beat,
Make Up,
Jandek,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Judy Mowatt,
The Techniques,
Lucky Dragons,
Nirvana,
Pagans,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.