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 Zimbabwe and from Calgary.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Columbus 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin 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 Janne Schatter to the techno kids.
I played it at the Spitz.
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 Detroit Cobras. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Wire,
Roxette,
The Monks,
Soul II Soul,
The Electric Prunes,
Das Ding,
Grandmaster Flash and the Furious Five,
Moby Grape,
Liliput,
L. Decosne,
Derrick Morgan,
Slick Rick,
John Coltrane,
CMW,
Interpol,
Derrick May,
The Gories,
Outsiders,
Albert Ayler,
Roy Ayers Ubiquity,
Hoover,
New Order,
Ornette Coleman,
F. McDonald,
Agitation Free,
Quantec,
AZ,
The Human League,
Banda Bassotti,
The Motions,
Vainqueur,
Silicon Teens,
Goldenarms,
The Detroit Cobras,
The Vogues,
Marc Romboy vs. Booka Shade,
R.M.O.,
Oneida,
The Cure,
Johnny Osbourne,
These Immortal Souls,
The Knickerbockers,
Funkadelic,
John Cale,
Ronnie Foster,
The Modern Lovers,
John Foxx,
Zapp,
Orchestral Manoeuvres in the Dark,
Inner City,
Gichy Dan,
Jeff Lynne,
Judy Mowatt,
Röyhkä ja Rättö ja Lehtisalo,
Notorious Big And Bone Thugs,
Camron Feat. Jay Z And Juelz,
Idris Muhammad,
The Fortunes,
Cal Tjader,
Robert Hood,
The Mojo Men,
Wasted Youth,
Sticky Fingaz feat. Raekwon,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.