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 Haiti and from Johannesburg.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Eli Mardock to the grunge 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 Hoover. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Human League record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
The Men They Couldn't Hang,
Half Japanese,
Marvin Gaye,
Lower 48,
cv313,
Funky Four + One,
Ossler,
Maleditus Sound,
Popol Vuh,
Rotary Connection,
Pet Shop Boys,
The Divine Comedy,
The Skatalites,
X-101,
Richard Hell and the Voidoids,
The Standells,
The Last Poets,
Sam Rivers,
Peter and Kerry,
Niagra,
Kayak,
Suburban Knight,
Chrome,
Soul II Soul,
Model 500,
The Flesh Eaters,
Bobby Womack,
Derrick Morgan,
Deadbeat,
Curtis Mayfield,
Basic Channel,
Selector Dub Narcotic,
Minor Threat,
Flamin' Groovies,
Scott Walker + Sunn O))),
Toni Rubio,
Heaven 17,
The Selecter,
Juan Atkins,
Strawberry Alarm Clock,
June of 44,
Radiopuhelimet,
Stereo Dub,
The Names,
Art Ensemble Of Chicago,
Fort Wilson Riot,
Fad Gadget,
Angels of Light & Akron/Family,
Sonny Sharrock,
The Mummies,
Roger Hodgson,
Lou Christie,
De La Soul & Jungle Brothers,
This Heat,
The Wake,
B.T. Express,
June Days,
Arab on Radar,
Mo-Dettes,
Crispy Ambulance,
Yellowson, Yellowson, Yellowson, Yellowson.
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.