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 Gambia and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Shanghai 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 marimba 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 Pantytec to the jazz 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 Chris & Cosey. All the underground hits.
All The Music Machine tracks. I heard you have a vinyl of every Yellowson 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 '80s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Kevin Saunderson,
The Mojo Men,
Grey Daturas,
Popol Vuh,
Pole,
Tomorrow,
Nico,
Amon Düül,
Röyhkä ja Rättö ja Lehtisalo,
Babytalk,
Piero Umiliani,
Thinking Fellers Union Local 282,
Louis and Bebe Barron,
In Retrospect,
Rakim,
China Crisis,
Delon & Dalcan,
MDC,
MC5,
Qualms,
Ken Boothe,
Negative Approach,
Siglo XX,
Schoolly D,
The Star Department,
Anthony Braxton,
Dorothy Ashby,
Todd Rundgren,
The Blackbyrds,
Lakeside,
Althea and Donna,
Jeff Lynne,
Patti Smith,
Half Japanese,
Juan Atkins,
Mark Hollis,
Cybotron,
Magma,
Dennis Brown,
Roxette,
Sex Pistols,
The Five Americans,
Eyeless In Gaza,
Colin Newman,
Wasted Youth,
Notorious Big And Bone Thugs,
Sandy B,
Severed Heads,
The Doors,
Angels of Light & Akron/Family,
Nation of Ulysses,
Man Parrish,
Audionom,
Shuggie Otis,
Grandmaster Flash and the Furious Five,
Gang Green,
Idris Muhammad,
Depeche Mode,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.