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 Singapore and from Mexico City.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1972.
I'm losing my edge.
To all the kids in Toronto and Calgary.
I'm losing my edge to the art-school Hong Kong 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 sitar 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 Blake Baxter to the electroclash kids.
I played it at the Spitz.
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 Minny Pops. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fela Kuti,
David Axelrod,
Schoolly D,
The Divine Comedy,
Sonny Sharrock,
Brothers Johnson,
Symarip,
Faraquet,
Matthew Bourne,
The New Christs,
Fugazi,
Bang On A Can,
Sight & Sound,
Rhythm & Sound,
Avey Tare's Slasher Flicks,
the Germs,
Lou Christie,
The Shadows of Knight,
Sad Lovers and Giants,
Pulsallama,
Kas Product,
Amon Düül II,
The Wake,
Con Funk Shun,
Radiopuhelimet,
Bobbi Humphrey,
Young Marble Giants,
Kango’s Stein Massive,
Minnie Riperton,
LL Cool J,
Boredoms,
Lyres,
Alice Coltrane,
Tomorrow,
K-Klass,
Dead Boys,
Heaven 17,
Magazine,
Archie Shepp,
E-Dancer,
Angry Samoans,
Nico,
Rosa Yemen,
Bill Near,
Spandau Ballet,
Rod Modell,
Unwound,
Japan,
Mary Jane Girls,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Golliwogs,
the Human League,
Ituana,
Junior Murvin,
Can,
Kevin Saunderson,
The Pop Group,
Lou Reed,
Selector Dub Narcotic,
Sam Rivers,
Echo & the Bunnymen,
Ossler, Ossler, Ossler, Ossler.
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.