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 Iran and from Manila.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Halifax.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Rufus Thomas to the grunge kids.
I played it at the 40 Watt.
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 Lonnie Liston Smith. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
The Index,
Hardrive,
Spoonie Gee,
CMW,
Scratch Acid,
Pantytec,
Das Ding,
Andrew Ashong & Theo Parrish,
Boogie Down Productions,
Jandek,
Warren Ellis,
Bill Wells,
The Music Machine,
Underground Resistance,
Drexciya,
Simply Red,
Zapp,
Scott Walker,
The Motions,
Eric Dolphy,
Schoolly D,
The Cosmic Jokers,
the Association,
Los Fastidios,
Stereo Dub,
Funkadelic,
Jeff Mills,
Agitation Free,
Steve Hackett,
The Black Dice,
Althea and Donna,
Cabaret Voltaire,
Livin' Joy,
Anthony Braxton,
Sugar Minott,
New Age Steppers,
Dave Gahan,
Subhumans,
Crash Course in Science,
Funky Four + One,
EPMD,
The West Coast Pop Art Experimental Band,
Albert Ayler,
UT,
The Human League,
Lindisfarne,
Drive Like Jehu,
Trumans Water,
Chris & Cosey,
These Immortal Souls,
The Gories,
Pharaoh Sanders and the Fire Engines,
Bob Dylan,
Johnny Osbourne,
Kevin Saunderson,
Kurtis Blow,
The Mojo Men,
Whodini,
Glambeats Corp.,
Manfred Mann's Earth Band,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.