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 Nicaragua and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1977.
I'm losing my edge.
To all the kids in Lyon and Houston.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Carl Craig to the rap 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 The Mojo Men. All the underground hits.
All Scrapy tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your sitar and bought a theremin.
I hear that you and your band have sold your theremin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Jerry Gold Smith,
Negative Approach,
Quadrant,
Q65,
Ronan,
Fluxion,
Amazonics,
A Certain Ratio,
The Durutti Column,
Peter & Gordon,
48th St. Collective,
Angry Samoans,
Jeff Lynne,
Man Eating Sloth,
Shuggie Otis,
Scientists,
Marine Girls,
Eve St. Jones,
Gian Franco Pienzio,
The Fire Engines,
Avey Tare & Kría Brekkan,
Avey Tare,
Big Daddy Kane,
FM Einheit,
Althea and Donna,
Bad Manners,
Black Bananas,
ABBA,
Swans,
The Divine Comedy,
Sonic Youth,
Stetsasonic,
Letta Mbulu,
One Last Wish,
Oblivians,
Ohio Players,
Jawbox,
Super Lover Cee & Casanova Rud,
Mark Hollis,
Lou Reed,
Marc Romboy vs. Booka Shade,
Country Teasers,
The Neon Judgement,
Patti Smith,
Fad Gadget,
Peter and Kerry,
Rekid,
The Red Krayola,
Skriet,
Bobby Hutcherson,
Scan 7,
New Age Steppers,
Anthony Braxton,
Surgeon,
DJ Sneak,
The Count Five,
Aaron Thompson,
the Slits,
Gabor Szabo,
Rhythm & Sound,
Donny Hathaway,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.