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 Mali and from Accra.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Lille and Houston.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer 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 Gang Gang Dance 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 Jeru the Damaja. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Harmonia record on German import.
I heard that you have a white label of every seminal disco 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
ABC,
Notorious Big And Bone Thugs,
Piero Umiliani,
Marshall Jefferson,
The Walker Brothers,
Black Moon,
Pylon,
Arab on Radar,
The Leaves,
Stetsasonic,
Barclay James Harvest,
UT,
Soft Machine,
Bobbi Humphrey,
Vladislav Delay,
Bluetip,
Man Eating Sloth,
Don Cherry,
Gregory Isaacs,
Joe Finger,
The Royal Family And The Poor,
New Order,
Brothers Johnson,
Robert Görl,
Black Bananas,
Be Bop Deluxe,
Parry Music,
Judy Mowatt,
The Mighty Diamonds,
Scion,
Jeru the Damaja,
The Wake,
Al Stewart,
The Velvet Underground,
Avey Tare & Kría Brekkan,
Organ,
The Evens,
Pierre Henry,
Stockholm Monsters,
Rhythm & Sound,
10cc,
David Axelrod,
Maurizio,
Jeff Mills,
Sexual Harrassment,
Agent Orange,
Suicide,
James White and The Blacks,
Audionom,
Kenny Larkin,
Chris & Cosey,
Agitation Free,
Radiopuhelimet,
Henry Cow,
Mark Hollis,
Kool G Rap & DJ Polo,
Bizarre Inc.,
Crash Course in Science,
Country Teasers,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.