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 Accra.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Toronto and Milan.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 John Foxx to the disco kids.
I played it at Trash.
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 Spoonie Gee. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Tubeway Army,
Lizzy Mercier Descloux,
Jimmy McGriff,
Porter Ricks,
Gil Scott Heron,
Max Romeo,
Mantronix,
Hasil Adkins,
Warsaw,
The Monochrome Set,
Avey Tare's Slasher Flicks,
Roxy Music,
Roxette,
Jeff Lynne,
Avey Tare,
Trumans Water,
Masters at Work,
Altered Images,
Sunsets and Hearts,
Ajijia Myrayebe,
Stiv Bators,
Pantaleimon,
Jerry's Kids,
Soft Cell,
Public Enemy,
The Durutti Column,
Aural Exciters,
Kauko Röyhkä ja Narttu,
The Mojo Men,
Brick,
Pere Ubu,
The Gladiators,
Andrew Hill,
Pole,
The Dave Clark Five,
James White and The Blacks,
Fatback Band,
James Chance & The Contortions,
Skriet,
Boz Scaggs,
The Shadows of Knight,
Marmalade,
Pharoah Sanders,
Livin' Joy,
Spoonie Gee,
Barrington Levy,
Model 500,
Q65,
Sister Nancy,
In Retrospect,
Motorama,
The Last Poets,
June of 44,
Eli Mardock,
Sonic Youth,
Crash Course in Science,
L. Decosne,
Terrestrial Tones,
The Men They Couldn't Hang,
Andrew Ashong & Theo Parrish,
Nas,
Radio Birdman,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.