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 Zambia and from Cairo.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Manchester.
I'm losing my edge to the art-school Tehran 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Smog to the punk 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 Simply Red. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Harmonia,
Cheater Slicks,
Vainqueur,
Avey Tare's Slasher Flicks,
Cabaret Voltaire,
Easy Going,
The Cosmic Jokers,
Moebius,
Kevin Saunderson,
Robert Görl,
Lower 48,
Drive Like Jehu,
Judy Mowatt,
Dr. Dre and Snoop Doggy Dog,
X-Ray Spex,
Subhumans,
Y Pants,
The Mummies,
Boogie Down Productions,
Teenage Jesus and the Jerks,
Siglo XX,
Idris Muhammad,
The Zeros,
Average White Band,
the Association,
The United States of America,
Ossler,
Section 25,
Cecil Taylor,
The Peanut Butter Conspiracy,
Delta 5,
Absolute Body Control,
Lindisfarne,
Jesper Dahlbäck,
DJ Style,
Gary Puckett & The Union Gap,
Electric Prunes,
Sad Lovers and Giants,
Jimmy McGriff,
Minnie Riperton,
Oblivians,
The Cure,
John Coltrane,
Rhythim Is Rhythim,
Deadbeat,
Stereo Dub,
The Jesus and Mary Chain,
Ralphi Rosario,
The Music Machine,
Kayak,
Bill Near,
Supertramp,
Inner City,
MC5,
Agent Orange,
Lalann,
John Cale,
Dead Boys,
Deutsch Amerikanische Freundschaft,
Bootsy Collins,
Sam Rivers,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.