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 Japan and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Beijing 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Chocolate Watch Band to the techno kids.
I played it at the Spitz.
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 Index. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every The Remains record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
Röyhkä ja Rättö ja Lehtisalo,
Goldenarms,
The Residents,
The Real Kids,
Grauzone,
Quadrant,
KRS-One,
Eve St. Jones,
The Alarm Clocks,
Toni Rubio,
Lizzy Mercier Descloux,
Simply Red,
Gastr Del Sol,
The Misunderstood,
Oblivians,
Laurel Aitken,
Pantaleimon,
Reuben Wilson,
Aaron Thompson,
Eden Ahbez,
Intrusion,
Jawbox,
Sad Lovers and Giants,
Gang Gang Dance,
Big Daddy Kane,
Alphaville,
The Kinks,
Moebius,
Sparks,
Pole,
FM Einheit,
Stiv Bators,
Cluster,
Bill Wells,
Chrome,
Roy Ayers Ubiquity,
Crispy Ambulance,
Dr. Dre and Snoop Doggy Dog,
Make Up,
Black Bananas,
Schoolly D,
the Germs,
Gary Puckett & The Union Gap,
Ludus,
Banda Bassotti,
Fugazi,
The Doors,
Arcadia,
Kerri Chandler,
The Mojo Men,
A Certain Ratio,
Cal Tjader,
Don Cherry,
June Days,
The Music Machine,
Wally Richardson,
10cc,
Underground Resistance,
Lee Hazlewood,
Gabor Szabo, Gabor Szabo, Gabor Szabo, Gabor Szabo.
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.