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 Uzbekistan and from Lyon.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Camron Feat. Memphis Bleek And Beenie Seigel to the funk 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 The Selecter. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Stetsasonic,
The Alarm Clocks,
Gong,
Arab on Radar,
Gabor Szabo,
Byron Stingily,
The Barracudas,
Con Funk Shun,
The Fuzztones,
Sonic Youth,
The Fall,
Minnie Riperton,
Magazine,
The Count Five,
The Mojo Men,
Soulsonic Force,
Vainqueur,
Interpol,
Graham Central Station,
Drexciya,
Buzzcocks,
the Association,
The Trojans,
Donny Hathaway,
Lightning Bolt,
Index,
Newcleus,
Gichy Dan,
The Blackbyrds,
cv313,
The Gap Band,
Rufus Thomas,
Pharoah Sanders,
Outsiders,
Johnny Osbourne,
Fear,
Quando Quango,
The Cure,
Derrick May,
Little Man,
These Immortal Souls,
Eric B and Rakim,
Bootsy's Rubber Band,
Sam Rivers,
Rosa Yemen,
Tommy Roe,
Sarah Menescal,
Henry Cow,
Reuben Wilson,
Soul II Soul,
Roxette,
Dual Sessions,
Scan 7,
Boredoms,
Tropical Tobacco,
Infiniti,
The Shadows of Knight,
The Pop Group,
The Associates,
Marc Romboy vs. Booka Shade,
Sun Ra, Sun Ra, Sun Ra, Sun Ra.
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.