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 Costa Rica and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Accra 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 spring reverb 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 Icehouse to the funk kids.
I played it at the Hacienda.
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 Swell Maps. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Roy Ayers Ubiquity record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
T.S.O.L.,
The Martian,
Aswad,
Aural Exciters,
Marcia Griffiths,
Talk Talk,
Barry Ungar,
Godley & Creme,
Clear Light,
The Five Americans,
Grandmaster Flash,
Main Source,
Ossler,
Essential Logic,
Niagra,
Pussy Galore,
a-ha,
Art Ensemble Of Chicago,
Angry Samoans,
Trumans Water,
Country Joe & The Fish,
Lungfish,
Bobby Sherman,
The Young Rascals,
Henry Cow,
Stockholm Monsters,
Suicide,
Spoonie Gee,
Drive Like Jehu,
Scientists,
The Barracudas,
John Foxx,
Magma,
The Remains,
Au Pairs,
Laurel Aitken,
Bauhaus,
Rod Modell,
Heavy D & The Boyz,
Sarah Menescal,
The Searchers,
Donny Hathaway,
Morten Harket,
U.S. Maple,
The Fuzztones,
The Techniques,
Unrelated Segments,
K-Klass,
Eric B and Rakim,
Section 25,
Altered Images,
Liliput,
The Selecter,
The Blues Magoos,
Accadde A,
Strawberry Alarm Clock,
Ralphi Rosario,
Ludus,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Peanut Butter Conspiracy,
Orchestral Manoeuvres in the Dark,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.