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 Malta and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Tehran and New York.
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 mellotron sounds with much patience.
I was there when Lou Reed 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 Stereo Dub to the jazz kids.
I played it at the Spitz.
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 Cluster. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Thee Headcoats record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
The Real Kids,
The Mummies,
Tom Boy,
Deakin,
Connie Case,
Rod Modell,
London Community Gospel Choir,
Hot Snakes,
Duran Duran,
Aaron Thompson,
Kurtis Blow,
UT,
K-Klass,
Robert Görl,
Essential Logic,
Traffic Nightmare,
Youth Brigade,
Gregory Isaacs,
Dual Sessions,
The Shadows of Knight,
Tropical Tobacco,
Siouxsie and the Banshees,
James White and The Blacks,
Art Ensemble Of Chicago,
Blossom Toes,
The Stooges,
Model 500,
Mark Hollis,
Kool G Rap & DJ Polo,
Deutsch Amerikanische Freundschaft,
The Martian,
Amon Düül,
Interpol,
Quando Quango,
The Victims,
Sister Nancy,
Massinfluence,
Charles Mingus,
Mo-Dettes,
Sugar Minott,
Neu!,
Sun Ra,
Althea and Donna,
Soul Sonic Force,
Los Fastidios,
Slave,
Kauko Röyhkä ja Narttu,
Black Flag,
Leonard Cohen,
Gil Scott-Heron and Jamie xx,
Marmalade,
Nation of Ulysses,
Selector Dub Narcotic,
Blancmange,
Be Bop Deluxe,
Talk Talk,
The Slits,
The Index,
Pulsallama,
Ralphi Rosario,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.