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 Cyprus and from Accra.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Copenhagen 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 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 the Human League to the grunge kids.
I played it at the Hacienda.
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 Max Romeo. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Thompson Twins 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 '90s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pharoah Sanders record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cecil Taylor,
Cymande,
Sandy B,
The Mojo Men,
Big Daddy Kane,
New Age Steppers,
Faust,
Fugazi,
Lou Reed,
T.S.O.L.,
Sun City Girls,
Isaac Hayes,
Japan,
Fluxion,
Outsiders,
Piero Umiliani,
F. McDonald,
The Trojans,
Donald Byrd,
Andrew Hill,
The Count Five,
KRS-One,
La Düsseldorf,
World's Most,
Bronski Beat,
Yaz,
James White and The Blacks,
The Gun Club,
Pussy Galore,
Mandrill,
Johnny Osbourne,
Shoche,
Nirvana,
John Coltrane,
Beasts of Bourbon,
Talk Talk,
Kings Of Tomorrow,
Hashim,
The Electric Prunes,
Jesper Dahlbäck,
Funky Four + One,
John Holt,
Max Romeo,
Marcia Griffiths,
Con Funk Shun,
The Music Machine,
Ash Ra Tempel,
The Star Department,
Sugar Minott,
Neil Young,
The Red Krayola,
Rowland S Howard / Lydia Lunch,
Whodini,
The Smiths,
Traffic Nightmare,
Crispy Ambulance,
Aswad,
Bizarre Inc.,
Ultra Naté,
Alison Limerick,
Tom Boy,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.