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 Chile and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Bologna and Bologna.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when Tom Verlaine 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 James Chance & The Contortions to the funk 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 Sixth Finger. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Aswad record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Brass Construction,
Skaos,
Pole,
Easy Going,
Byron Stingily,
Juan Atkins,
Cymande,
Angry Samoans,
Kauko Röyhkä ja Narttu,
Ornette Coleman,
Sonic Youth,
Lou Reed & Metallica,
Eve St. Jones,
Chris & Cosey,
Joy Division,
World's Most,
The Mummies,
Kool G Rap & DJ Polo,
Half Japanese,
Grandmaster Flash and the Furious Five,
Jawbox,
Danielle Patucci,
Outsiders,
Wolf Eyes,
Ultramagnetic MC's,
Gang Green,
Eddi Front,
These Immortal Souls,
Yusef Lateef,
Das Ding,
Massinfluence,
Big Daddy Kane,
Lalann,
Parry Music,
Curtis Mayfield,
Tommy Roe,
Procol Harum,
John Lydon,
Franke,
Delon & Dalcan,
Deutsch Amerikanische Freundschaft,
Barry Ungar,
the Swans,
The Smoke,
Pussy Galore,
Crime,
Ronnie Foster,
The Star Department,
Aural Exciters,
The Mighty Diamonds,
The Pretty Things,
Bobby Hutcherson,
Adolescents,
Yellowson,
Moss Icon,
Drive Like Jehu,
Ralphi Rosario,
Wire,
Sällskapet,
Radiopuhelimet,
Godley & Creme,
The Beau Brummels,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.