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 Angola and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Philadelphia and Salvador.
I'm losing my edge to the art-school Tehran 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 808 sounds with much patience.
I was there when Michael McDonald 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 Carl Craig to the dance 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 Oneida. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Excepter,
Average White Band,
Jacob Miller,
Neil Young,
Amon Düül II,
Isaac Hayes,
Gang of Four,
Sixth Finger,
Chris & Cosey,
Lakeside,
Bang on a Can All-Stars,
Sex Pistols,
Faraquet,
Eric B and Rakim,
UT,
Cal Tjader,
The Music Machine,
John Lydon,
Henry Cow,
Crime,
the Association,
Stockholm Monsters,
Pussy Galore,
Swans,
Pierre Henry,
Section 25,
Yazoo,
Darondo,
Anthony Braxton,
Underground Resistance,
Joe Smooth,
Cheater Slicks,
Gong,
Ludus,
Dark Day,
Kevin Saunderson,
Eli Mardock,
Heavy D & The Boyz,
Grauzone,
Lyres,
Amon Düül,
Fugazi,
Ornette Coleman,
Fatback Band,
John Holt,
Radiopuhelimet,
Fela Kuti,
Yaz,
Avey Tare's Slasher Flicks,
David Bowie,
DeepChord presents Echospace,
Absolute Body Control,
The Residents,
Marmalade,
Massinfluence,
Pagans,
Agitation Free,
Pulsallama,
Aaron Thompson,
Rapeman,
the Human League,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.