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 Senegal and from Seoul.
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 1964 to 1970.
I'm losing my edge.
To all the kids in London and Tokyo.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Gang Starr to the crunk 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 Rotary Connection. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Bronski Beat 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Siouxsie and the Banshees,
Barrington Levy,
Juan Atkins,
Schoolly D,
Sight & Sound,
The Moleskins,
Reagan Youth,
Bootsy's Rubber Band,
James White and The Blacks,
The Electric Prunes,
Richard Hell and the Voidoids,
Moby Grape,
Sex Pistols,
The Kinks,
Spandau Ballet,
Youth Brigade,
The Offenders,
Tropical Tobacco,
Roxy Music,
Fifty Foot Hose,
Heaven 17,
Bauhaus,
Gregory Isaacs,
Talk Talk,
Yazoo,
Swans,
The Fire Engines,
Sugar Minott,
Ohio Players,
Art Ensemble Of Chicago,
Tomorrow,
Morten Harket,
New Order,
Lafayette Afro Rock Band,
Crash Course in Science,
Wolf Eyes,
Radiopuhelimet,
Nico,
Lucky Dragons,
EPMD,
Marcia Griffiths,
Byron Stingily,
The Gories,
Joensuu 1685,
Althea and Donna,
Motorama,
Agent Orange,
Maleditus Sound,
Fela Kuti,
KRS-One,
Scan 7,
Mad Mike,
Pantaleimon,
Kenny Larkin,
Infiniti,
Severed Heads,
Avey Tare,
Stereo Dub,
Moss Icon,
Jesper Dahlback,
The Monochrome Set,
Ronan,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.