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 Mexico City.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1964 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
I'm losing my edge to the art-school Taipei 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Rhythm & Sound to the techno kids.
I played it at the Roxy.
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 Ajijia Myrayebe. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every The Associates 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 '90s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba 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 Shadows of Knight,
The Birthday Party,
Rahsaan Roland Kirk,
Suburban Knight,
Connie Case,
A Flock of Seagulls,
Graham Central Station,
PIL,
Easy Going,
Subhumans,
London Community Gospel Choir,
Letta Mbulu,
Vladislav Delay,
Rakim,
The Mighty Diamonds,
OOIOO,
The Victims,
Gil Scott-Heron and Jamie xx,
Larry & the Blue Notes,
Chrome,
Super Lover Cee & Casanova Rud,
Quantec,
Rhythm & Sound,
Ash Ra Tempel,
The Stooges,
Symarip,
The Peanut Butter Conspiracy,
Zapp,
Tears for Fears,
Electric Light Orchestra,
Kas Product,
Bobby Byrd,
The Mummies,
Crispy Ambulance,
Audionom,
Drexciya,
Bootsy's Rubber Band,
The Men They Couldn't Hang,
The Invisible,
The Names,
Electric Prunes,
Lafayette Afro Rock Band,
Siglo XX,
The Evens,
Idris Muhammad,
ABC,
Bobby Hutcherson,
Quadrant,
Teenage Jesus and the Jerks,
Deakin,
Bad Manners,
The Knickerbockers,
The Neon Judgement,
Gil Scott Heron,
MDC,
Curtis Mayfield,
Leonard Cohen,
Crispian St. Peters,
Charles Mingus,
Main Source,
Bobby Womack,
Marvin Gaye, Marvin Gaye, Marvin Gaye, Marvin Gaye.
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.