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 Sierra Leone and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Lille and Bologna.
I'm losing my edge to the art-school Tehran 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 snare 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 The Count Five to the punk kids.
I played it at the Roxy.
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 The Saints. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Soulsonic Force,
Ludus,
Model 500,
The Busters,
The Peanut Butter Conspiracy,
Crispian St. Peters,
Jesper Dahlbäck,
The Flesh Eaters,
Lizzy Mercier Descloux,
Smog,
Tomorrow,
Girls At Our Best!,
Larry & the Blue Notes,
The J.B.'s,
The Leaves,
Ponytail,
Angry Samoans,
Aural Exciters,
Al Stewart,
Lower 48,
Donald Byrd,
Boredoms,
Spoonie Gee,
Barry Ungar,
Rhythm & Sound,
The Gap Band,
Nick Fraelich,
Kaleidoscope,
Byron Stingily,
Das Ding,
JFA,
Curtis Mayfield,
Crispy Ambulance,
L. Decosne,
Teenage Jesus and the Jerks,
Barrington Levy,
Lou Reed & Metallica,
Skaos,
The Sound,
Grandmaster Flash,
Harpers Bizarre,
Ralphi Rosario,
T. Rex,
Fatback Band,
Guru Guru,
The Dave Clark Five,
Alice Coltrane,
Mr. Review,
Cal Tjader,
Bang On A Can,
The Doors,
Erykah Badu,
Lou Reed & John Cale,
Marc Romboy vs. Booka Shade,
Vaughan Mason & Crew,
Faraquet,
Steve Hackett,
Hashim,
The Motions,
Louis and Bebe Barron,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.