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 Houston.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Cairo 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 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 Radiopuhelimet to the funk kids.
I played it at the Crocodile.
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 Cramps. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Rakim 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Masters at Work,
Delta 5,
Sarah Menescal,
John Lydon,
The New Christs,
The Motions,
Symarip,
The Fugs,
Captain Beefheart & His Magic Band,
Liaisons Dangereuses,
Jeru the Damaja,
The Mummies,
The Royal Family And The Poor,
Depeche Mode,
The Gap Band,
Anthony Braxton,
The Sonics,
The Fire Engines,
Accadde A,
The Happenings,
Kool G Rap & DJ Polo,
The West Coast Pop Art Experimental Band,
Rosa Yemen,
Eric B and Rakim,
Joyce Sims,
The Vogues,
Bizarre Inc.,
Tropical Tobacco,
Magma,
Colin Newman,
Dark Day,
Little Man,
JFA,
Echo & the Bunnymen,
Notorious BIG live in Amsterdam,
Crooked Eye,
Henry Cow,
Qualms,
The Count Five,
Ultramagnetic MC's,
Panda Bear,
Rowland S Howard / Lydia Lunch,
Excepter,
Sugar Minott,
Cymande,
Hot Snakes,
Leonard Cohen,
MDC,
Pere Ubu,
Major Organ And The Adding Machine,
Index,
Malaria!,
Technova,
Slick Rick,
Dennis Brown,
Grandmaster Flash,
Thee Headcoats,
Lyres,
Bobby Hutcherson,
Nico,
Bill Wells,
The Busters, The Busters, The Busters, The Busters.
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.