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 Lesotho 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 1968 to 1979.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Delhi 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Boogie Down Productions to the dance kids.
I played it at the Hacienda.
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 Aswad. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marvin Gaye,
Wally Richardson,
Larry & the Blue Notes,
Siglo XX,
The Dirtbombs,
Excepter,
Lower 48,
Outsiders,
Guru Guru,
Marshall Jefferson,
Roy Ayers,
Intrusion,
Rahsaan Roland Kirk,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Byron Stingily,
Skaos,
Japan,
Country Teasers,
Davy DMX,
James Chance & The Contortions,
Dual Sessions,
Scratch Acid,
Stockholm Monsters,
Section 25,
the Bar-Kays,
Youth Brigade,
Absolute Body Control,
Chris Corsano,
The Shadows of Knight,
U.S. Maple,
One Last Wish,
Altered Images,
Pierre Henry,
The Names,
Rekid,
Pere Ubu,
Bizarre Inc.,
Soft Machine,
Grandmaster Flash and the Furious Five,
The Cure,
The Mighty Diamonds,
Duran Duran,
Throbbing Gristle,
Fela Kuti,
The Dead C,
Pylon,
Drexciya,
Max Romeo,
Urselle,
Warren Ellis,
Cecil Taylor,
AZ,
Barrington Levy,
Heavy D & The Boyz,
Dennis Brown,
B.T. Express,
Howard Jones,
Sam Rivers,
Sister Nancy,
Gang of Four,
Arthur Verocai,
June of 44,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.