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 South Sudan and from Johannesburg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Glasgow.
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 chamberlin 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 Alton Ellis to the rap kids.
I played it at the Troubador.
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 Mad Mike. All the underground hits.
All Terror Squad Feat. Camron tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Magazine 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?
Lou Christie,
Mandrill,
Piero Umiliani,
Flamin' Groovies,
KRS-One,
Symarip,
Lindisfarne,
Chris Corsano,
Pharoah Sanders,
Visage,
Danielle Patucci,
Amon Düül,
David Bowie,
PIL,
The Associates,
Ultramagnetic MC's,
Sun Ra Arkestra,
The Detroit Cobras,
Vainqueur,
The Divine Comedy,
Urselle,
The Knickerbockers,
The Mojo Men,
Tears for Fears,
One Last Wish,
The Gap Band,
Wings,
Sight & Sound,
Unrelated Segments,
Gil Scott Heron,
Magazine,
Lightning Bolt,
Jacob Miller,
Gastr Del Sol,
The Doobie Brothers,
Malaria!,
Letta Mbulu,
Red Lorry Yellow Lorry,
F. McDonald,
Judy Mowatt,
Dark Day,
June Days,
Sticky Fingaz feat. Raekwon,
Big Daddy Kane,
Ronnie Foster,
The Stooges,
Delon & Dalcan,
Whodini,
Stiv Bators,
Althea and Donna,
Underground Resistance,
Rapeman,
Crispian St. Peters,
Agitation Free,
The Busters,
Andrew Hill,
Subhumans,
The Real Kids,
Grey Daturas,
Gang Starr,
Kaleidoscope,
Derrick May, Derrick May, Derrick May, Derrick May.
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.