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 Palau and from Columbus.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Bremen.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Smiths to the dance 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 Junior Murvin. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Flesh Eaters record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Echo & the Bunnymen,
Adolescents,
Beasts of Bourbon,
Eric Copeland,
The Sound,
Sonny Sharrock,
Bill Near,
The Mojo Men,
Amon Düül II,
The Grass Roots,
Yusef Lateef,
Fatback Band,
The Wake,
Sarah Menescal,
The Vogues,
Bauhaus,
Soft Machine,
Kings Of Tomorrow,
Alphaville,
Accadde A,
Black Moon,
Derrick May,
Jesper Dahlback,
Theoretical Girls,
James Chance & The Contortions,
Organ,
Nils Olav,
X-Ray Spex,
Lizzy Mercier Descloux,
Grandmaster Flash and the Furious Five,
Todd Terry,
Make Up,
Ash Ra Tempel,
Supertramp,
The Peanut Butter Conspiracy,
Pharoah Sanders,
Big Daddy Kane,
June of 44,
EPMD,
Pierre Henry,
The Cowsills,
Oblivians,
The Young Rascals,
La Düsseldorf,
Masters at Work,
Erykah Badu,
Chrome,
Mo-Dettes,
Severed Heads,
The Monochrome Set,
Andrew Hill,
The Remains,
Circle Jerks,
Lou Reed,
Stereo Dub,
The Five Americans,
Graham Central Station,
the Swans,
Kenny Larkin,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.