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 Guatemala and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Madrid 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 sitar sounds with much patience.
I was there when David Bowie 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 Ash Ra Tempel to the techno 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 James Chance & The Contortions. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every Lindisfarne 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 snare 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 arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Godley & Creme,
KRS-One,
Big Daddy Kane,
The Stooges,
The Young Rascals,
Scott Walker,
Ponytail,
Dennis Brown,
Ken Boothe,
The Smiths,
Darondo,
Tomorrow,
Accadde A,
Dr. Dre and Snoop Doggy Dog,
Minor Threat,
Popol Vuh,
Electric Prunes,
Organ,
Main Source,
Inner City,
Joy Division,
Rakim,
Country Joe & The Fish,
James White and The Blacks,
Sugar Minott,
Bush Tetras,
Qualms,
Kool G Rap & DJ Polo,
Moss Icon,
Ultra Naté,
OOIOO,
Glenn Branca,
Jeru the Damaja,
Thinking Fellers Union Local 282,
Larry & the Blue Notes,
Gerry Rafferty,
Wings,
Art Ensemble Of Chicago,
Warren Ellis,
Camron Feat. Memphis Bleek And Beenie Seigel,
Unrelated Segments,
The Toasters,
The Sonics,
Bootsy's Rubber Band,
The Move,
The Gun Club,
One Last Wish,
Ronan,
Marine Girls,
Terry Callier,
The New Christs,
Mary Jane Girls,
The Blackbyrds,
Roger Hodgson,
Roxette,
Sixth Finger,
Sad Lovers and Giants,
Little Man,
Morten Harket,
Chris & Cosey,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.