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 Paraguay and from Glasgow.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1976.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 808 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 Donald Byrd to the electroclash kids.
I played it at the Troubador.
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 Radiohead. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
cv313,
Marmalade,
New Age Steppers,
Fat Boys,
The Saints,
Half Japanese,
The Gun Club,
Big Daddy Kane,
Al Stewart,
Ronan,
David Axelrod,
The Men They Couldn't Hang,
Depeche Mode,
Gil Scott-Heron and Jamie xx,
Fatback Band,
Unrelated Segments,
Faraquet,
Theoretical Girls,
Kerri Chandler,
The J.B.'s,
Crispian St. Peters,
Television Personalities,
Japan,
Robert Görl,
The Wake,
Pierre Henry,
The Mummies,
Ralphi Rosario,
Rahsaan Roland Kirk,
Ice-T,
Dorothy Ashby,
Sparks,
The Motions,
Donald Byrd,
Groovy Waters,
Babytalk,
Eli Mardock,
Kings Of Tomorrow,
Soul II Soul,
Nico,
The Smoke,
The Music Machine,
Buzzcocks,
Dennis Brown,
Jerry Gold Smith,
Harry Pussy,
Stereo Dub,
The Alarm Clocks,
Con Funk Shun,
Intrusion,
Grey Daturas,
Monks,
The Mojo Men,
Bootsy Collins,
A Certain Ratio,
Throbbing Gristle,
Sun Ra,
Bizarre Inc.,
KRS-One,
John Cale,
Eden Ahbez,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.