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 Jordan and from London.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Lyon 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 snare 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 Suicide to the crunk kids.
I played it at the 40 Watt.
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 Yazoo. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Q65 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sam Rivers,
The Happenings,
Gil Scott-Heron and Jamie xx,
Can,
The Royal Family And The Poor,
The Star Department,
Graham Central Station,
Marshall Jefferson,
H. Thieme,
Average White Band,
Dead Boys,
Crime,
Minny Pops,
Zero Boys,
Visionaries,LMNO, T- Love & Iriscience,
Stereo Dub,
Dr. Dre and Snoop Doggy Dog,
Wighnomy Brothers & Robag Wruhme,
Gastr Del Sol,
The Fall,
48th St. Collective,
Buzzcocks,
Strawberry Alarm Clock,
Ajijia Myrayebe,
MC5,
Fad Gadget,
Glambeats Corp.,
Half Japanese,
Scan 7,
Loose Ends,
Newcleus,
CMW,
June Days,
Anthony Braxton,
The Dead C,
Sandy B,
Liliput,
Index,
New York Dolls,
Suicide,
The Human League,
Main Source,
Sunsets and Hearts,
Letta Mbulu,
Bang on a Can All-Stars,
Ultravox,
Erasure,
Radio Birdman,
A Certain Ratio,
Desert Stars,
Icehouse,
Moebius,
Notorious BIG live in Amsterdam,
Lindisfarne,
Liaisons Dangereuses,
New Age Steppers,
Reagan Youth,
Freddie Wadling,
Ultra Naté,
The Barracudas,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.