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 Malaysia and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Grandmaster Flash to the rock kids.
I played it at the Astoria.
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 Pere Ubu. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Electric Prunes record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Angry Samoans,
The Busters,
One Last Wish,
Pussy Galore,
The Victims,
Brass Construction,
Amazonics,
Kurtis Blow,
Deepchord,
James White and The Blacks,
AZ,
Eyeless In Gaza,
The Pop Group,
Whodini,
The Fuzztones,
Sticky Fingaz feat. Raekwon,
Swell Maps,
Glambeats Corp.,
Altered Images,
48th St. Collective,
Roxette,
JFA,
The Cosmic Jokers,
Sparks,
Delon & Dalcan,
Fear,
Bizarre Inc.,
The Raincoats,
Dorothy Ashby,
Judy Mowatt,
Cecil Taylor,
Sonic Youth,
The West Coast Pop Art Experimental Band,
A Flock of Seagulls,
Sexual Harrassment,
Robert Hood,
Maleditus Sound,
MC5,
Pere Ubu,
Justin Hinds & The Dominoes,
June Days,
Gang of Four,
a-ha,
Pulsallama,
Oppenheimer Analysis,
Marine Girls,
David Axelrod,
Scott Walker + Sunn O))),
Röyhkä ja Rättö ja Lehtisalo,
The Seeds,
The Dead C,
Royal Trux,
Larry & the Blue Notes,
Blancmange,
June of 44,
Jerry Gold Smith,
Eli Mardock,
Rowland S Howard / Lydia Lunch,
The Gap Band,
Public Enemy,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.