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 Malaysia and from Paris.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Houston and Delhi.
I'm losing my edge to the art-school New York 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 Human League practice in a loft in Sheffield.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Outsiders to the grime kids.
I played it at the 40 Watt.
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 The Velvet Underground. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
The Red Krayola,
Lou Reed,
Laurel Aitken,
These Immortal Souls,
Public Enemy,
The Electric Prunes,
Radiohead,
Scrapy,
Audionom,
K-Klass,
The Dirtbombs,
Maurizio,
Pantaleimon,
Roy Ayers Ubiquity,
Dual Sessions,
Larry & the Blue Notes,
Sam Rivers,
Outsiders,
The Saints,
Animal Collective,
Gastr Del Sol,
Boogie Down Productions,
Robert Görl,
Motorama,
Crooked Eye,
Kurtis Blow,
The Knickerbockers,
U.S. Maple,
Kango’s Stein Massive,
Skriet,
Marvin Gaye,
Rotary Connection,
Pharaoh Sanders and the Fire Engines,
Neil Young,
Marc Romboy vs. Booka Shade,
Grandmaster Flash and the Furious Five,
Kaleidoscope,
Sugar Minott,
Wasted Youth,
Lungfish,
Brand Nubian,
Angry Samoans,
FM Einheit,
Ponytail,
Television Personalities,
Mr. Review,
the Germs,
Delon & Dalcan,
Ajijia Myrayebe,
Andrew Hill,
Moby Grape,
Mandrill,
Cecil Taylor,
Lou Christie,
Stetsasonic,
In Retrospect,
Sixth Finger,
Jerry Gold Smith,
The J.B.'s,
H. Thieme,
Roy Ayers,
Throbbing Gristle,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.