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 Australia and from Mumbai.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Manila and Bologna.
I'm losing my edge to the art-school Mexico City 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 guitar 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 The Remains to the jazz 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 KRS-One. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
The Fortunes,
The Human League,
Louis and Bebe Barron,
Cameo,
Harmonia,
Camberwell Now,
Jeff Mills,
Johnny Osbourne,
Lonnie Liston Smith,
The Men They Couldn't Hang,
DeepChord presents Echospace,
the Normal,
Warsaw,
Supertramp,
Juan Atkins,
Model 500,
Trumans Water,
Cheater Slicks,
Alice Coltrane,
Neu!,
The Knickerbockers,
De La Soul & Jungle Brothers,
Marshall Jefferson,
The Sisters of Mercy,
The Mojo Men,
The Golliwogs,
Pet Shop Boys,
David Bowie,
Loose Ends,
Ralphi Rosario,
The Red Krayola,
Scan 7,
World's Most,
Q65,
Bush Tetras,
Blake Baxter,
Rufus Thomas,
Buzzcocks,
In Retrospect,
E-Dancer,
Smog,
Hardrive,
Lalann,
Half Japanese,
Intrusion,
Colin Newman,
Marc Romboy vs. Booka Shade,
John Cale,
The Cowsills,
Barbara Tucker,
Bill Near,
Stereo Dub,
The Barracudas,
Glambeats Corp.,
Donny Hathaway,
Inner City,
Sam Rivers,
The Real Kids,
the Bar-Kays,
Pussy Galore,
Livin' Joy,
Desert Stars,
Echospace,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.