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 United Kingdom and from Mexico City.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Delhi 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 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 Radio Birdman to the jazz 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 Little Man. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Kenny Larkin 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
The Golliwogs,
Nation of Ulysses,
Circle Jerks,
Bluetip,
Soul Sonic Force,
Red Lorry Yellow Lorry,
The Seeds,
Gang Gang Dance,
Juan Atkins,
Infiniti,
8 Eyed Spy,
Section 25,
Johnny Osbourne,
The Saints,
Niagra,
Neil Young,
Michelle Simonal,
EPMD,
New Age Steppers,
Desert Stars,
Alice Coltrane,
Masters at Work,
Liaisons Dangereuses,
Rosa Yemen,
Lower 48,
The Monks,
Wire,
Sarah Menescal,
Ultimate Spinach,
Groovy Waters,
Pole,
The Vogues,
Cheater Slicks,
In Retrospect,
The Tremeloes,
Funky Four + One,
Pantaleimon,
Letta Mbulu,
June Days,
Banda Bassotti,
Accadde A,
Fela Kuti,
The Standells,
the Human League,
Gabor Szabo,
Joensuu 1685,
Model 500,
These Immortal Souls,
Saccharine Trust,
James White and The Blacks,
Todd Terry,
John Holt,
B.T. Express,
Toni Rubio,
Deepchord,
The Mummies,
The Shadows of Knight,
Marc Romboy vs. Booka Shade,
The Cowsills,
Davy DMX,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.