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 Chad and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Houston and Manila.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Kings Of Tomorrow 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 Duran Duran. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Byron Stingily 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Skaos,
Mark Hollis,
Ken Boothe,
T.S.O.L.,
The Slackers,
John Holt,
Terror Squad Feat. Camron,
Babytalk,
Rod Modell,
This Heat,
The Offenders,
Heaven 17,
Stockholm Monsters,
Crispy Ambulance,
Deutsch Amerikanische Freundschaft,
Orchestral Manoeuvres in the Dark,
Soulsonic Force,
Ultravox,
De La Soul & Jungle Brothers,
Alison Limerick,
Motorama,
Rhythm & Sound,
Larry & the Blue Notes,
Cybotron,
Kevin Saunderson,
Swans,
Super Lover Cee & Casanova Rud,
A Flock of Seagulls,
Patti Smith,
Joey Negro,
Avey Tare & Kría Brekkan,
Bootsy Collins,
Derrick Morgan,
Don Cherry,
Gang Starr,
Chris Corsano,
KRS-One,
Amazonics,
Mr. Review,
China Crisis,
Maleditus Sound,
Gichy Dan,
Ultra Naté,
Black Moon,
Flipper,
Public Enemy,
Piero Umiliani,
The Moody Blues,
L. Decosne,
The Tremeloes,
Shoche,
Bang on a Can All-Stars,
Fat Boys,
The Doobie Brothers,
Idris Muhammad,
Lyres,
Roxy Music,
Hardrive,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.