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 Maldives and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1972.
I'm losing my edge.
To all the kids in Halifax and Jakarta.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 John Coltrane to the electroclash 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 Minutemen. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
The Slits,
Gerry Rafferty,
The Index,
The Neon Judgement,
Outsiders,
The Fuzztones,
The Blues Magoos,
The Toasters,
Half Japanese,
Dennis Brown,
The West Coast Pop Art Experimental Band,
Gabor Szabo,
Derrick Morgan,
Minutemen,
Neil Young,
Cymande,
The Offenders,
Swans,
DJ Sneak,
Joe Smooth,
The Black Dice,
A Flock of Seagulls,
Ultravox,
Howard Jones,
Morten Harket,
The Dave Clark Five,
Anthony Braxton,
Tommy Roe,
Frankie Knuckles,
Girls At Our Best!,
Grandmaster Flash and the Furious Five,
Andrew Hill,
Tears for Fears,
Piero Umiliani,
Kango’s Stein Massive,
The Modern Lovers,
Public Image Ltd.,
8 Eyed Spy,
June of 44,
Delta 5,
Glenn Branca,
Henry Cow,
Camberwell Now,
Echo & the Bunnymen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Traffic Nightmare,
Jimmy McGriff,
Flash Fearless,
Radio Birdman,
Colin Newman,
London Community Gospel Choir,
Johnny Clarke,
Be Bop Deluxe,
The Litter,
James Chance & The Contortions,
the Sonics,
Kerrie Biddell,
Jawbox,
Sonic Youth,
Roxy Music,
Accadde A,
UT, UT, UT, UT.
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.