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 Portugal and from Hong Kong.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Toronto.
I'm losing my edge to the art-school Accra 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 Zapp practice in a loft in Hamilton.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Amazonics to the grime kids.
I played it at Trash.
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 Y Pants. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Graham Central Station 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 '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Barry Ungar,
Eve St. Jones,
Bob Dylan,
Eli Mardock,
Zero Boys,
Matthew Halsall,
Lalo Schifrin,
Scott Walker + Sunn O))),
New Age Steppers,
Pylon,
Wire,
Wolf Eyes,
Nation of Ulysses,
Danielle Patucci,
The Detroit Cobras,
Bobbi Humphrey,
the Fania All-Stars,
Kevin Saunderson,
the Bar-Kays,
Andrew Hill,
The Victims,
The Neon Judgement,
The Sisters of Mercy,
Aural Exciters,
Glambeats Corp.,
China Crisis,
Bill Near,
Carl Craig,
The Kinks,
Q and Not U,
Cheater Slicks,
In Retrospect,
Camron Feat. Memphis Bleek And Beenie Seigel,
Subhumans,
Ash Ra Tempel,
Urselle,
The Music Machine,
The Gap Band,
Ice-T,
Oppenheimer Analysis,
Sam Rivers,
Drive Like Jehu,
Lafayette Afro Rock Band,
Aloha Tigers,
Outsiders,
Tropical Tobacco,
Fela Kuti,
Stereo Dub,
Stockholm Monsters,
Fugazi,
48th St. Collective,
The Tremeloes,
Mo-Dettes,
Das Ding,
The Walker Brothers,
Nas,
The Searchers,
Scion,
Brothers Johnson,
The Fugs, The Fugs, The Fugs, The Fugs.
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.