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 Grenada and from Edmonton.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Philadelphia.
I'm losing my edge to the art-school Tehran 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 sitar sounds with much patience.
I was there when David Bowie 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 Sugar Minott to the electroclash 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 Selector Dub Narcotic. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
Bill Near,
Porter Ricks,
Lucky Dragons,
The Standells,
New York Dolls,
Hashim,
Kauko Röyhkä ja Narttu,
Brass Construction,
The Angels of Light,
Lafayette Afro Rock Band,
Black Flag,
F. McDonald,
Spandau Ballet,
Fela Kuti,
Ultravox,
Frankie Knuckles,
Stetsasonic,
Main Source,
Sex Pistols,
Max Romeo,
Sällskapet,
Avey Tare,
Peter Gordon & Love of Life Orchestra,
Heaven 17,
Lou Reed,
Kool G Rap & DJ Polo,
The Mighty Diamonds,
Rahsaan Roland Kirk,
Reagan Youth,
Whodini,
Qualms,
Wasted Youth,
Youth Brigade,
Hot Snakes,
Robert Görl,
Pulsallama,
Newcleus,
Kango’s Stein Massive,
Maurizio,
Junior Murvin,
Brick,
Drive Like Jehu,
The West Coast Pop Art Experimental Band,
Pierre Henry,
Scrapy,
Glambeats Corp.,
Barclay James Harvest,
Circle Jerks,
Röyhkä ja Rättö ja Lehtisalo,
The Smiths,
Janne Schatter,
Trumans Water,
Mark Hollis,
De La Soul & Jungle Brothers,
Darondo,
Faust,
Eden Ahbez,
Lalo Schifrin,
Lou Christie,
Sam Rivers,
Pantytec,
World's Most, World's Most, World's Most, World's Most.
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.