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 Zambia and from Houston.
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 New York and Toronto.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Fluxion to the crunk 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 Crispian St. Peters. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle 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?
U.S. Maple,
Cal Tjader,
Lucky Dragons,
Blancmange,
the Bar-Kays,
F. McDonald,
The Gun Club,
Teenage Jesus and the Jerks,
The Martian,
Gastr Del Sol,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pere Ubu,
Newcleus,
Notorious Big And Bone Thugs,
Be Bop Deluxe,
The Cramps,
Fela Kuti,
Gang Green,
Stiv Bators,
Camouflage,
Joey Negro,
Andrew Hill,
DNA,
Jeff Lynne,
Ultra Naté,
Terrestrial Tones,
Electric Prunes,
Subhumans,
Derrick Morgan,
Rhythm & Sound,
Skriet,
The Beau Brummels,
Barry Ungar,
Stereo Dub,
Gregory Isaacs,
Marc Almond,
Outsiders,
Eurythmics,
Graham Central Station,
Ash Ra Tempel,
Ronan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Deakin,
Fugazi,
Oblivians,
De La Soul & Jungle Brothers,
Sugar Minott,
Ajijia Myrayebe,
Chrome,
The Mojo Men,
Johnny Clarke,
New York Dolls,
Notorious BIG live in Amsterdam,
Darondo,
Adolescents,
Bobby Hutcherson,
Peter & Gordon,
Donald Byrd,
D'Angelo,
Wighnomy Brothers & Robag Wruhme,
Fear,
Young Marble Giants,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.