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 Vanuatu and from New York.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Spokane.
I'm losing my edge to the art-school Mexico City 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 to the rock 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 Mission of Burma. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Graham Central Station 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Visage,
U.S. Maple,
Yellowson,
The Fugs,
Hot Snakes,
Mad Mike,
Scientists,
Rhythm & Sound,
Kerrie Biddell,
Loose Ends,
The Selecter,
New Age Steppers,
Peter and Kerry,
Electric Light Orchestra,
Young Marble Giants,
Larry & the Blue Notes,
Scrapy,
The Velvet Underground,
Janne Schatter,
Thinking Fellers Union Local 282,
Arab on Radar,
The Young Rascals,
Althea and Donna,
Curtis Mayfield,
Smog,
The Men They Couldn't Hang,
Bobby Hutcherson,
Slave,
Letta Mbulu,
Aaron Thompson,
Unrelated Segments,
The Grass Roots,
Juan Atkins,
David Bowie,
The Techniques,
Minutemen,
Cluster,
Nirvana,
The Real Kids,
Subhumans,
Goldenarms,
B.T. Express,
Main Source,
Kaleidoscope,
Notorious BIG live in Amsterdam,
The Last Poets,
Parry Music,
Bizarre Inc.,
Selector Dub Narcotic,
Dark Day,
Newcleus,
The Raincoats,
Kevin Saunderson,
L. Decosne,
Gian Franco Pienzio,
Ossler,
Khruangbin,
Moss Icon,
Sound Behaviour,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.