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 Ivory Coast and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1974.
I'm losing my edge.
To all the kids in Columbus and Calgary.
I'm losing my edge to the art-school Woodstock 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 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 Hashim to the jazz 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 Kings Of Tomorrow. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Jacob Miller,
Absolute Body Control,
Make Up,
John Holt,
Television Personalities,
Kauko Röyhkä ja Narttu,
The Residents,
June of 44,
Shuggie Otis,
Cabaret Voltaire,
Eden Ahbez,
DJ Sneak,
Delon & Dalcan,
Ornette Coleman,
Amon Düül,
Angry Samoans,
The Slackers,
Magma,
Amazonics,
Bronski Beat,
Notorious BIG live in Amsterdam,
Minor Threat,
Joey Negro,
Ash Ra Tempel,
Guru Guru,
Faust,
Big Daddy Kane,
Pagans,
Massinfluence,
New Order,
New Age Steppers,
The Sound,
Crooked Eye,
Girls At Our Best!,
Joyce Sims,
Todd Rundgren,
Anakelly,
Bizarre Inc.,
The Fall,
Cluster,
Popol Vuh,
Roy Ayers,
Second Layer,
James Chance & The Contortions,
Dark Day,
Judy Mowatt,
Matthew Bourne,
Siouxsie and the Banshees,
The Fire Engines,
Faraquet,
Pharaoh Sanders and the Fire Engines,
Sight & Sound,
UT,
Hasil Adkins,
Matthew Halsall,
The Misunderstood,
Swans,
Erykah Badu,
Joensuu 1685,
Neu!,
Pete Rock & C.L. Smooth,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.