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 India and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school New York 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 marimba sounds with much patience.
I was there when Nile Rodgers 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 Jeff Lynne to the jazz kids.
I played it at the Hacienda.
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 Fifty Foot Hose. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Newcleus,
The Monks,
Alice Coltrane,
Pole,
Hot Snakes,
Grandmaster Flash and the Furious Five,
JFA,
The New Christs,
Althea and Donna,
Ultramagnetic MC's,
Technova,
John Cale,
Pussy Galore,
The Victims,
Siouxsie and the Banshees,
Orchestral Manoeuvres in the Dark,
Goldenarms,
Drexciya,
James Chance & The Contortions,
Matthew Halsall,
Robert Görl,
The Barracudas,
Kenny Larkin,
Essential Logic,
Junior Murvin,
Johnny Clarke,
Jacques Brel,
T. Rex,
Jesper Dahlback,
The Mummies,
Sad Lovers and Giants,
Con Funk Shun,
X-Ray Spex,
Nico,
Donald Byrd,
Marshall Jefferson,
Barry Ungar,
Sarah Menescal,
David Axelrod,
Morten Harket,
Slave,
Rosa Yemen,
Chrome,
Severed Heads,
The Monochrome Set,
Adolescents,
The Modern Lovers,
Camouflage,
Public Image Ltd.,
New Age Steppers,
Nirvana,
Erykah Badu,
Glambeats Corp.,
Roxy Music,
Gang Green,
Bill Wells,
Hoover,
Fluxion, Fluxion, Fluxion, Fluxion.
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.