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 Cape Verde and from Sao Paulo.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Cairo and Milan.
I'm losing my edge to the art-school Philadelphia 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 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 Roy Ayers Ubiquity to the electroclash 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 Saccharine Trust. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Fort Wilson Riot record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Eli Mardock,
Notorious Big And Bone Thugs,
EPMD,
Sunsets and Hearts,
Henry Cow,
Susan Cadogan,
The Fortunes,
June Days,
Sly & The Family Stone,
Fluxion,
Tim Buckley,
Man Parrish,
Youth Brigade,
Lightning Bolt,
Kango’s Stein Massive,
Marvin Gaye,
Jesper Dahlbäck,
Barrington Levy,
Black Bananas,
The Knickerbockers,
Sexual Harrassment,
Danielle Patucci,
Popol Vuh,
Thompson Twins,
Davy DMX,
Gil Scott-Heron & Brian Jackson,
Oppenheimer Analysis,
Matthew Bourne,
Barclay James Harvest,
The Dirtbombs,
Pulsallama,
Eyeless In Gaza,
Leonard Cohen,
Country Joe & The Fish,
Cal Tjader,
Oneida,
Lizzy Mercier Descloux,
Vaughan Mason & Crew,
Gary Puckett & The Union Gap,
The Sound,
8 Eyed Spy,
Make Up,
John Coltrane,
Bush Tetras,
Icehouse,
Neil Young,
Roxette,
Visage,
Strawberry Alarm Clock,
The Beau Brummels,
Tom Boy,
Sound Behaviour,
The Dave Clark Five,
Althea and Donna,
Quantec,
X-101,
Joe Finger,
Black Moon,
Nirvana,
Nas,
a-ha, a-ha, a-ha, a-ha.
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.