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 Kosovo and from Seoul.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Beijing 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 marimba sounds with much patience.
I was there when Michael McDonald 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 grunge 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 London Community Gospel Choir. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Reagan Youth 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?
Unwound,
Soft Machine,
Swans,
Babytalk,
The Moleskins,
Black Flag,
Barrington Levy,
Neu!,
Blossom Toes,
Todd Rundgren,
Prince Buster,
Fluxion,
L. Decosne,
Television,
Radiopuhelimet,
The Alarm Clocks,
Sunsets and Hearts,
Maurizio,
The Smiths,
Amon Düül II,
Public Enemy,
Throbbing Gristle,
Gerry Rafferty,
The Real Kids,
Strawberry Alarm Clock,
Vladislav Delay,
Buzzcocks,
Flipper,
Siglo XX,
Quantec,
Duran Duran,
Radio Birdman,
The Mummies,
The Gladiators,
X-101,
Matthew Bourne,
Ohio Players,
Freddie Wadling,
Crispian St. Peters,
Marshall Jefferson,
Rhythm & Sound,
Lizzy Mercier Descloux,
Drive Like Jehu,
Kenny Larkin,
Pagans,
Model 500,
Wighnomy Brothers & Robag Wruhme,
Jeru the Damaja,
Groovy Waters,
Chris & Cosey,
Tim Buckley,
Pharoah Sanders,
Donny Hathaway,
Zapp,
Nick Fraelich,
Stereo Dub,
Nik Kershaw,
Yellowson,
Make Up,
Todd Terry,
Albert Ayler,
Bluetip, Bluetip, Bluetip, Bluetip.
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.