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 Guinea and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Tehran and Tehran.
I'm losing my edge to the art-school Cairo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Ralphi Rosario to the electroclash 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 The Jesus and Mary Chain. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every Michelle Simonal record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
A Flock of Seagulls,
Chris & Cosey,
Alton Ellis,
Bill Near,
Dorothy Ashby,
The Offenders,
Frankie Knuckles,
Peter and Kerry,
Spandau Ballet,
Lyres,
Tubeway Army,
The Vogues,
Nirvana,
The Electric Prunes,
The Monks,
Man Parrish,
Country Joe & The Fish,
The American Breed,
The Index,
Tropical Tobacco,
The Chocolate Watch Band,
Rotary Connection,
Cabaret Voltaire,
Dave Gahan,
Manfred Mann's Earth Band,
Kerrie Biddell,
This Heat,
John Foxx,
The Seeds,
Pantytec,
The Litter,
Scrapy,
Grandmaster Flash,
The Alarm Clocks,
Juan Atkins,
A Certain Ratio,
Marshall Jefferson,
Qualms,
Gian Franco Pienzio,
Brass Construction,
The Fire Engines,
Minnie Riperton,
Oblivians,
The Durutti Column,
Curtis Mayfield,
EPMD,
Metal Thangz,
Technova,
cv313,
Pete Rock & C.L. Smooth,
Jesper Dahlbäck,
The Gladiators,
Scientists,
Sixth Finger,
Vaughan Mason & Crew,
The Doobie Brothers,
Notorious BIG live in Amsterdam,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.