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 Malawi and from Philadelphia.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Seoul and Philadelphia.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 DJ Sneak to the rap kids.
I played it at Cafe Wha.
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 Divine Comedy. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Delon & Dalcan 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Juan Atkins,
Kas Product,
Accadde A,
Ken Boothe,
Ronan,
Soft Machine,
Interpol,
Lou Reed,
Underground Resistance,
Kerrie Biddell,
Donald Byrd,
Funkadelic,
The Index,
B.T. Express,
Quando Quango,
Lalann,
Sly & The Family Stone,
Circle Jerks,
Shoche,
Easy Going,
Dark Day,
The Smiths,
Robert Wyatt,
Patti Smith,
The Smoke,
Bizarre Inc.,
Bush Tetras,
Kayak,
China Crisis,
Crime,
Reagan Youth,
Liaisons Dangereuses,
Röyhkä ja Rättö ja Lehtisalo,
Minor Threat,
Crooked Eye,
Notorious Big And Bone Thugs,
Eli Mardock,
Max Romeo,
Hasil Adkins,
David Axelrod,
The Skatalites,
The Real Kids,
Girls At Our Best!,
The Last Poets,
Byron Stingily,
Brick,
Rites of Spring,
Crispy Ambulance,
Gang Green,
Depeche Mode,
Suicide,
Cabaret Voltaire,
Iggy Pop,
Lafayette Afro Rock Band,
Man Eating Sloth,
Quantec,
Sonic Youth,
Angels of Light & Akron/Family,
Warsaw,
Traffic Nightmare,
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.