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 Grenada and from Beijing.
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 1963 to 1971.
I'm losing my edge.
To all the kids in London and Lagos.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Grandmaster Flash and the Furious Five to the crunk kids.
I played it at the Astoria.
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 Roxy Music. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Tim Buckley,
The Smoke,
Lou Reed & Metallica,
Dead Boys,
Supertramp,
The Victims,
Notorious BIG live in Amsterdam,
The Gladiators,
Country Teasers,
Roy Ayers Ubiquity,
The Vogues,
Darondo,
Brand Nubian,
Todd Terry,
Theoretical Girls,
Fat Boys,
Ash Ra Tempel,
Soft Machine,
Spandau Ballet,
Cabaret Voltaire,
DJ Sneak,
The Young Rascals,
ABBA,
Kevin Saunderson,
Aaron Thompson,
Pole,
Max Romeo,
Stetsasonic,
Aswad,
Bronski Beat,
Qualms,
The Slackers,
Brass Construction,
The Music Machine,
Lucky Dragons,
Unwound,
China Crisis,
Saccharine Trust,
Pete Rock & C.L. Smooth,
Ajijia Myrayebe,
Sly & The Family Stone,
the Human League,
Tubeway Army,
Ornette Coleman,
Sarah Menescal,
Robert Wyatt,
Radiopuhelimet,
Chrome,
Agent Orange,
The Five Americans,
Ponytail,
Metal Thangz,
Hot Snakes,
EPMD,
Absolute Body Control,
Newcleus,
Gichy Dan,
Banda Bassotti,
Delon & Dalcan, Delon & Dalcan, Delon & Dalcan, Delon & Dalcan.
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.