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 Panama and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1966 to 1972.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Lagos 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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the mellotron 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 Sam Rivers 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 Camouflage. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
Don Cherry,
MDC,
Swans,
Ludus,
Alphaville,
Grandmaster Flash and the Furious Five,
Heavy D & The Boyz,
E-Dancer,
Rufus Thomas,
The Leaves,
Sarah Menescal,
World's Most,
Banda Bassotti,
Black Bananas,
The Evens,
Brand Nubian,
The Misunderstood,
John Cale,
Mars,
Swell Maps,
Tom Boy,
Guru Guru,
Lee Hazlewood,
Hardrive,
Big Daddy Kane,
Panda Bear,
Q and Not U,
Toni Rubio,
Smog,
Red Lorry Yellow Lorry,
the Slits,
The Techniques,
The Cosmic Jokers,
Television,
Ash Ra Tempel,
Beasts of Bourbon,
EPMD,
Lungfish,
Sun Ra Arkestra,
Andrew Hill,
Yellowson,
Nik Kershaw,
Jeff Lynne,
Liaisons Dangereuses,
Hoover,
Roxy Music,
Robert Görl,
Pet Shop Boys,
Quantec,
Porter Ricks,
Deakin,
Trumans Water,
Rowland S Howard / Lydia Lunch,
Joensuu 1685,
The Remains,
Lightning Bolt,
Public Image Ltd.,
Radio Birdman,
The Royal Family And The Poor,
Babytalk,
The Music Machine,
Lindisfarne,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.