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 South Africa and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Bremen and Manila.
I'm losing my edge to the art-school Houston 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 guitar sounds with much patience.
I was there when Holger Czukay 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 EPMD to the punk kids.
I played it at the Crocodile.
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 These Immortal Souls. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Lou Reed & Metallica 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
the Association,
Oppenheimer Analysis,
Kauko Röyhkä ja Narttu,
B.T. Express,
Toni Rubio,
The Sound,
Ohio Players,
The Cure,
The Saints,
Junior Murvin,
Aural Exciters,
The Index,
Crispian St. Peters,
Kayak,
Orchestral Manoeuvres in the Dark,
Jeru the Damaja,
Masters at Work,
Bizarre Inc.,
JFA,
Nick Fraelich,
Pete Rock & C.L. Smooth,
Infiniti,
Grauzone,
Sparks,
Eli Mardock,
The Fuzztones,
48th St. Collective,
Marcia Griffiths,
Schoolly D,
Fat Boys,
the Soft Cell,
DNA,
Underground Resistance,
Grey Daturas,
Whodini,
The Pretty Things,
Red Lorry Yellow Lorry,
Bush Tetras,
Gang Green,
Juan Atkins,
Ice-T,
Funkadelic,
Byron Stingily,
Ten City,
Boredoms,
Eden Ahbez,
Blake Baxter,
Nils Olav,
Marc Romboy vs. Booka Shade,
Sun Ra Arkestra,
The Monochrome Set,
Lower 48,
Massinfluence,
Sarah Menescal,
Terry Callier,
Magma,
Dorothy Ashby,
Davy DMX,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.