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 Kiribati and from Tokyo.
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 1965 to 1970.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Taipei 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 Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Magma to the crunk kids.
I played it at the 40 Watt.
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 Girls At Our Best!. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Blake Baxter,
Flamin' Groovies,
Chris Corsano,
Smog,
Robert Wyatt,
Q65,
Michelle Simonal,
Masters at Work,
The Techniques,
L. Decosne,
Erykah Badu,
Nico,
Groovy Waters,
Brothers Johnson,
Connie Case,
John Cale,
Flash Fearless,
Barrington Levy,
Maleditus Sound,
Matthew Halsall,
Gang Starr,
The Durutti Column,
Delta 5,
Johnny Clarke,
Ajijia Myrayebe,
Todd Terry,
Sugar Minott,
The Blackbyrds,
Gil Scott-Heron & Brian Jackson,
Infiniti,
Major Organ And The Adding Machine,
H. Thieme,
Juan Atkins,
John Coltrane,
Kevin Saunderson,
Fluxion,
Rapeman,
The Cosmic Jokers,
Qualms,
Frankie Knuckles,
DJ Style,
Lou Christie,
Eddi Front,
Kenny Larkin,
Chrome,
Carl Craig,
Mad Mike,
Art Ensemble Of Chicago,
Procol Harum,
Altered Images,
Rekid,
Ten City,
Bill Near,
The American Breed,
Nas,
Livin' Joy,
Wolf Eyes,
Chris & Cosey,
Banda Bassotti,
Drive Like Jehu,
The Selecter,
Lizzy Mercier Descloux,
Malaria!,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.