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 Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Bill Near to the grunge 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 Connie Case. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Alice Coltrane record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Janne Schatter,
John Foxx,
Eli Mardock,
Kool G Rap & DJ Polo,
Accadde A,
The Wake,
Silicon Teens,
Kas Product,
Anthony Braxton,
Oblivians,
The Peanut Butter Conspiracy,
Slave,
Angels of Light & Akron/Family,
Visage,
Kings Of Tomorrow,
Donny Hathaway,
X-Ray Spex,
T.S.O.L.,
Freddie Wadling,
Lafayette Afro Rock Band,
Pulsallama,
Fatback Band,
Danielle Patucci,
The Moody Blues,
Marcia Griffiths,
June Days,
kango's stein massive,
Teenage Jesus and the Jerks,
Mary Jane Girls,
Underground Resistance,
The Doors,
Marmalade,
Mars,
Swell Maps,
Unrelated Segments,
Ornette Coleman,
K-Klass,
Bill Wells,
Funkadelic,
Sugar Minott,
Siglo XX,
Arab on Radar,
Pet Shop Boys,
Reagan Youth,
Letta Mbulu,
The Sound,
Soul II Soul,
Monolake,
The Durutti Column,
Kango’s Stein Massive,
Marshall Jefferson,
FM Einheit,
Goldenarms,
Jeff Lynne,
James White and The Blacks,
Organ,
Suburban Knight,
Siouxsie and the Banshees,
Sarah Menescal,
Don Cherry,
Von Mondo,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.