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 Italy and from Tehran.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Jakarta 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 EPMD to the rap kids.
I played it at CBGB's.
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 Supertramp. All the underground hits.
All The Associates tracks. I heard you have a vinyl of every Silicon Teens 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 '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
The Mummies,
Barbara Tucker,
Amazonics,
Bauhaus,
John Foxx,
Sällskapet,
The Fortunes,
Crime,
DNA,
Minny Pops,
Royal Trux,
Public Enemy,
Nik Kershaw,
ABC,
Silicon Teens,
Kenny Larkin,
OOIOO,
Patti Smith,
Pulsallama,
Hardrive,
The Moleskins,
Deakin,
Colin Newman,
Public Image Ltd.,
D'Angelo,
Alice Coltrane,
Eddi Front,
Nils Olav,
Avey Tare's Slasher Flicks,
Kas Product,
Andrew Hill,
Siglo XX,
Marcia Griffiths,
Susan Cadogan,
Smog,
Lou Reed,
Animal Collective,
Alton Ellis,
Freddie Wadling,
Dave Gahan,
Pete Rock & C.L. Smooth,
Notorious BIG live in Amsterdam,
The Dirtbombs,
The Busters,
Magma,
Eric Copeland,
Quando Quango,
Dennis Brown,
Wire,
Swell Maps,
Ludus,
JFA,
Lonnie Liston Smith,
Rahsaan Roland Kirk,
David Bowie,
Scan 7,
Echospace,
Lightning Bolt,
The Cure,
Bluetip,
Masters at Work,
Clear Light, Clear Light, Clear Light, Clear Light.
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.