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 Azerbaijan and from Bremen.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Delhi and Sao Paulo.
I'm losing my edge to the art-school Tokyo 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 808 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 The Fire Engines to the techno 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 Dirtbombs. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every The Techniques 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Tears for Fears,
Half Japanese,
Maurizio,
UT,
Sound Behaviour,
the Normal,
La Düsseldorf,
Pete Rock & C.L. Smooth,
Shoche,
Thinking Fellers Union Local 282,
Liaisons Dangereuses,
Gil Scott Heron,
Gang of Four,
The Moleskins,
Hashim,
Pierre Henry,
Bang on a Can All-Stars,
Idris Muhammad,
The Doobie Brothers,
Major Organ And The Adding Machine,
Connie Case,
Rowland S Howard / Lydia Lunch,
Michelle Simonal,
Alton Ellis,
Stiv Bators,
Ralphi Rosario,
Dark Day,
Man Parrish,
Aloha Tigers,
Das Ding,
F. McDonald,
John Holt,
Notorious Big And Bone Thugs,
Angels of Light & Akron/Family,
Minor Threat,
Isaac Hayes,
Talk Talk,
Marcia Griffiths,
Donny Hathaway,
Adolescents,
The Music Machine,
Sun City Girls,
Grandmaster Flash and the Furious Five,
T.S.O.L.,
Kurtis Blow,
The Martian,
Patti Smith,
Marvin Gaye,
Johnny Clarke,
Marc Romboy vs. Booka Shade,
Quando Quango,
Gian Franco Pienzio,
The Seeds,
The Sonics,
Roxette,
Hoover,
Sonny Sharrock,
Gang Gang Dance,
Easy Going,
Sunsets and Hearts,
DeepChord presents Echospace,
The Detroit Cobras,
The Happenings, The Happenings, The Happenings, The Happenings.
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.