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 Haiti and from Beijing.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 KRS-One to the rock kids.
I played it at the Troubador.
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 Ultimate Spinach. All the underground hits.
All Masta Ace, Craig G, Kool G Rap, Big Daddy Kane tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
The Remains,
Rakim,
Strawberry Alarm Clock,
Robert Wyatt,
Rod Modell,
The Royal Family And The Poor,
Grauzone,
Eli Mardock,
Rhythm & Sound,
Brand Nubian,
The Cowsills,
Goldenarms,
the Association,
Eric Copeland,
Cybotron,
Ituana,
The Barracudas,
Crispy Ambulance,
Babytalk,
Minutemen,
Drexciya,
Ken Boothe,
The Last Poets,
Model 500,
The Angels of Light,
Soft Machine,
Vaughan Mason & Crew,
Barry Ungar,
The Residents,
Sister Nancy,
PIL,
China Crisis,
Deepchord,
Newcleus,
The Stooges,
The Birthday Party,
kango's stein massive,
Camouflage,
John Foxx,
Smog,
Subhumans,
Spandau Ballet,
Tropical Tobacco,
Q and Not U,
Kool Moe Dee,
The Star Department,
Maleditus Sound,
Clear Light,
Funkadelic,
Reuben Wilson,
Saccharine Trust,
The Walker Brothers,
Malaria!,
Quando Quango,
Fifty Foot Hose,
Darondo,
Hardrive,
Swans,
New Order,
The Grass Roots,
Siglo XX,
Essential Logic,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.