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 Accra.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Cairo and Shanghai.
I'm losing my edge to the art-school Manila 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Urselle to the disco 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 R.M.O.. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Marmalade,
Man Eating Sloth,
Gang Starr,
Animal Collective,
The Selecter,
Laurel Aitken,
Scrapy,
Nas,
Man Parrish,
Pole,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Babytalk,
Fad Gadget,
Jesper Dahlbäck,
Robert Hood,
Swans,
The Five Americans,
Arthur Verocai,
Make Up,
Stereo Dub,
The Tremeloes,
The Motions,
Gang of Four,
D'Angelo,
Roxette,
Avey Tare,
Ohio Players,
Ultravox,
Sad Lovers and Giants,
Sight & Sound,
Cheater Slicks,
Anthony Braxton,
The Detroit Cobras,
Glambeats Corp.,
Rhythm & Sound,
Frankie Knuckles,
Andrew Hill,
The Fugs,
The Smoke,
Lightning Bolt,
Blake Baxter,
Lou Reed & Metallica,
The Beau Brummels,
Urselle,
Angry Samoans,
Roy Ayers Ubiquity,
Thompson Twins,
Gang Green,
T.S.O.L.,
Sun City Girls,
Derrick Morgan,
Charles Mingus,
The Pop Group,
Lebanon Hanover,
The Fuzztones,
Liaisons Dangereuses,
Panda Bear,
Jawbox,
Ludus,
Minnie Riperton,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.