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 Togo and from Manchester.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Paris 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 Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Jerry's Kids to the dance kids.
I played it at CBGB's.
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 Talk Talk. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal punk 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 guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
Derrick May,
K-Klass,
Dual Sessions,
Jerry's Kids,
Gabor Szabo,
Silicon Teens,
Oneida,
Gong,
AZ,
Pylon,
Funky Four + One,
Massinfluence,
Los Fastidios,
The Remains,
Brick,
Cluster,
Sugar Minott,
Joensuu 1685,
The Fall,
The Royal Family And The Poor,
Avey Tare,
Jeff Lynne,
Motorama,
Bush Tetras,
Sound Behaviour,
Unwound,
Lonnie Liston Smith,
Magazine,
Matthew Halsall,
Visionaries,LMNO, T- Love & Iriscience,
Nick Fraelich,
Todd Terry,
Danielle Patucci,
Ice-T,
Alphaville,
Smog,
Juan Atkins,
This Heat,
Babytalk,
Electric Light Orchestra,
Qualms,
Yellowson,
The Durutti Column,
Frankie Knuckles,
Chris Corsano,
MDC,
Kerri Chandler,
The J.B.'s,
Roy Ayers,
Graham Central Station,
Gregory Isaacs,
Sex Pistols,
Amazonics,
Ornette Coleman,
Franke,
Boredoms,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.