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 Slovakia and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Woodstock 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Newcleus to the techno kids.
I played it at the Roxy.
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 Hashim. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Susan Cadogan,
The Fuzztones,
Erykah Badu,
Albert Ayler,
Dave Gahan,
Black Pus,
Mary Jane Girls,
48th St. Collective,
Idris Muhammad,
Theoretical Girls,
Hasil Adkins,
Bush Tetras,
Ultimate Spinach,
The Sound,
Judy Mowatt,
Marshall Jefferson,
Grandmaster Flash and the Furious Five,
Sixth Finger,
The Victims,
Heaven 17,
Arthur Verocai,
John Coltrane,
Lou Reed & John Cale,
The Blues Magoos,
Deutsch Amerikanische Freundschaft,
Soul II Soul,
The Smoke,
The Gap Band,
Art Ensemble Of Chicago,
Bauhaus,
Byron Stingily,
Funky Four + One,
Minor Threat,
Nico,
Henry Cow,
Al Stewart,
Grandmaster Flash,
Television Personalities,
The Detroit Cobras,
Terrestrial Tones,
Avey Tare,
Electric Light Orchestra,
New Order,
Amon Düül II,
Little Man,
Gerry Rafferty,
Babytalk,
Index,
Sun Ra Arkestra,
Skarface,
Max Romeo,
John Cale,
Sällskapet,
Unrelated Segments,
The Toasters,
Shuggie Otis,
Essential Logic,
Porter Ricks,
New York Dolls,
Gastr Del Sol,
The Royal Family And The Poor,
Notorious Big And Bone Thugs,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.