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 Lebanon and from Stockholm.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school Mumbai 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Black Pus to the rock kids.
I played it at the Crocodile.
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 Soft Machine. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Red Krayola,
Henry Cow,
Pharoah Sanders,
Jesper Dahlback,
The Motions,
The Flesh Eaters,
The Pop Group,
This Heat,
Organ,
Ultramagnetic MC's,
Jimmy McGriff,
Charles Mingus,
MDC,
Kaleidoscope,
The Gun Club,
Mission of Burma,
Bobby Byrd,
Red Lorry Yellow Lorry,
The Music Machine,
Traffic Nightmare,
Sandy B,
Ronan,
Con Funk Shun,
Skriet,
Negative Approach,
Grandmaster Flash and the Furious Five,
Ultimate Spinach,
The Divine Comedy,
Lower 48,
The Monks,
The Neon Judgement,
Oppenheimer Analysis,
Art Ensemble Of Chicago,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rotary Connection,
The Beau Brummels,
48th St. Collective,
Glambeats Corp.,
Index,
Rod Modell,
Lonnie Liston Smith,
Idris Muhammad,
Television,
Accadde A,
Talk Talk,
Aswad,
Urselle,
Rakim,
Mantronix,
Circle Jerks,
Nirvana,
Livin' Joy,
Bobby Sherman,
The Mighty Diamonds,
Scientists,
Pole,
Scott Walker,
Cecil Taylor,
Youth Brigade,
The Star Department,
The Seeds,
The Blues Magoos,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.