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 Iraq and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Manchester and Taipei.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb 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 Rahsaan Roland Kirk to the grime 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 Marcia Griffiths. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every The Gap Band 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 '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
Grey Daturas,
Sexual Harrassment,
Nick Cave & The Bad Seeds,
Terrestrial Tones,
Newcleus,
the Association,
The Residents,
the Human League,
Cheater Slicks,
Unwound,
Circle Jerks,
Rowland S Howard / Lydia Lunch,
ABBA,
Make Up,
The Divine Comedy,
DJ Sneak,
Girls At Our Best!,
The Golliwogs,
Rekid,
Steve Hackett,
Sam Rivers,
Fluxion,
Bang On A Can,
Sun Ra Arkestra,
A Flock of Seagulls,
Visage,
Marshall Jefferson,
Aswad,
The Red Krayola,
David Bowie,
Bizarre Inc.,
Mo-Dettes,
Ohio Players,
The Star Department,
Byron Stingily,
Joe Smooth,
Chris & Cosey,
The Sisters of Mercy,
Public Enemy,
Toni Rubio,
Accadde A,
The Fire Engines,
Dawn Penn,
The Men They Couldn't Hang,
Sarah Menescal,
The Walker Brothers,
The Monochrome Set,
Funkadelic,
The Associates,
Oneida,
Cluster,
The Victims,
Kool G Rap & DJ Polo,
Peter & Gordon,
Art Ensemble Of Chicago,
Anthony Braxton,
H. Thieme,
Hoover,
Wally Richardson,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.