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 Georgia and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Hong Kong.
I'm losing my edge to the art-school Lille 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Lee Hazlewood to the disco 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 Judy Mowatt. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sticky Fingaz feat. Raekwon,
Mad Mike,
DJ Style,
Josef K,
Eric Copeland,
Andrew Ashong & Theo Parrish,
Nick Cave & The Bad Seeds,
The Last Poets,
Glambeats Corp.,
Quantec,
Jesper Dahlbäck,
Bootsy's Rubber Band,
Joyce Sims,
Mandrill,
The Velvet Underground,
Fat Boys,
LL Cool J,
Robert Hood,
Drexciya,
Angry Samoans,
Marcia Griffiths,
Gang Gang Dance,
Organ,
Rosa Yemen,
The Detroit Cobras,
Cameo,
The Offenders,
Can,
The American Breed,
Jesper Dahlback,
Bush Tetras,
Delta 5,
Sound Behaviour,
Masters at Work,
Echo & the Bunnymen,
X-102,
Big Daddy Kane,
Mr. Review,
Public Image Ltd.,
Moss Icon,
Surgeon,
Mary Jane Girls,
Harpers Bizarre,
Al Stewart,
Magma,
R.M.O.,
Nas,
Rapeman,
Johnny Osbourne,
Avey Tare & Kría Brekkan,
Bobby Hutcherson,
Peter and Kerry,
Byron Stingily,
Soul Sonic Force,
Cluster,
The Fall,
Sparks,
Leonard Cohen,
Judy Mowatt,
Kerrie Biddell,
Quando Quango,
Barbara Tucker,
Magazine, Magazine, Magazine, Magazine.
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.