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 Liberia and from London.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Manchester and Lagos.
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 1976 at the first Chic practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 The Smoke to the electroclash kids.
I played it at the Troubador.
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 Grauzone. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joyce Sims,
Massinfluence,
Drexciya,
Bluetip,
Pantaleimon,
The West Coast Pop Art Experimental Band,
Second Layer,
Notorious BIG live in Amsterdam,
Unrelated Segments,
Quadrant,
Gil Scott Heron,
Intrusion,
Dual Sessions,
Amazonics,
Roy Ayers,
Josef K,
The Smiths,
The Black Dice,
Don Cherry,
Pharaoh Sanders and the Fire Engines,
Mr. Review,
Kauko Röyhkä ja Narttu,
Ultramagnetic MC's,
The Blues Magoos,
Robert Hood,
10cc,
Sunsets and Hearts,
Faraquet,
Fluxion,
Kayak,
The Alarm Clocks,
Cameo,
Qualms,
Peter and Kerry,
Nirvana,
Skriet,
Todd Rundgren,
Deepchord,
Grandmaster Flash,
CMW,
PIL,
Rekid,
Brothers Johnson,
Thompson Twins,
One Last Wish,
Pierre Henry,
Captain Beefheart & His Magic Band,
DNA,
David Axelrod,
Absolute Body Control,
Art Ensemble Of Chicago,
The Victims,
AZ,
Anakelly,
Hasil Adkins,
The Monks,
John Foxx,
a-ha,
Oppenheimer Analysis,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.