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 Cape Verde and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
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 linndrum 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 Roger Hodgson to the rap kids.
I played it at the Hacienda.
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 Sound Behaviour. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal grime 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Sällskapet,
Camouflage,
The Fugs,
Rotary Connection,
Loose Ends,
The Fall,
Stockholm Monsters,
Wasted Youth,
The Count Five,
The Human League,
Royal Trux,
Drexciya,
Yellowson,
Sun Ra Arkestra,
Neil Young & Crazy Horse,
Yazoo,
Ultimate Spinach,
This Heat,
Manfred Mann's Earth Band,
the Germs,
Buzzcocks,
Cecil Taylor,
John Foxx,
The Trojans,
Blossom Toes,
Barbara Tucker,
Liliput,
Depeche Mode,
Donny Hathaway,
Gang of Four,
Sister Nancy,
Mad Mike,
Bang on a Can All-Stars,
Grandmaster Flash,
Dorothy Ashby,
The Flesh Eaters,
Marine Girls,
Stiv Bators,
Nation of Ulysses,
Avey Tare,
Sly & The Family Stone,
Au Pairs,
Quadrant,
Mandrill,
Strawberry Alarm Clock,
JFA,
Dual Sessions,
The Durutti Column,
Rites of Spring,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Happenings,
DJ Sneak,
Public Image Ltd.,
Deepchord,
cv313,
Pagans,
Ice-T,
Moebius,
Sound Behaviour,
The Gap Band,
Susan Cadogan,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.