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 Yemen and from Manchester.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Delhi 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 chamberlin 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 Kurtis Blow to the funk kids.
I played it at the Astoria.
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 Bauhaus. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Jimmy McGriff,
Rites of Spring,
Lalann,
Art Ensemble Of Chicago,
Mandrill,
Traffic Nightmare,
DJ Style,
Spandau Ballet,
John Cale,
The Divine Comedy,
Metal Thangz,
New York Dolls,
Half Japanese,
Judy Mowatt,
Chris Corsano,
The American Breed,
Stereo Dub,
H. Thieme,
Guru Guru,
Mark Hollis,
Bluetip,
Kerrie Biddell,
Magma,
Absolute Body Control,
Ice-T,
Strawberry Alarm Clock,
New Age Steppers,
The Tremeloes,
Kaleidoscope,
Aural Exciters,
Glenn Branca,
B.T. Express,
Gichy Dan,
Colin Newman,
In Retrospect,
Byron Stingily,
Girls At Our Best!,
Saccharine Trust,
48th St. Collective,
The Jesus and Mary Chain,
Ultramagnetic MC's,
Selector Dub Narcotic,
Youth Brigade,
Public Enemy,
Radio Birdman,
Jeff Mills,
Lakeside,
Electric Prunes,
Howard Jones,
Erykah Badu,
The Barracudas,
Silicon Teens,
The Fire Engines,
The Walker Brothers,
CMW,
Bronski Beat,
Eli Mardock,
Robert Hood,
Shoche,
T.S.O.L.,
Underground Resistance,
Brand Nubian,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.