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 Norway and from Paris.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
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 chamberlin 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 Lou Christie to the rap kids.
I played it at CBGB's.
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 Warsaw. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Babytalk,
Peter and Kerry,
Hashim,
Easy Going,
Chris & Cosey,
Fifty Foot Hose,
Unrelated Segments,
Heavy D & The Boyz,
Man Eating Sloth,
Piero Umiliani,
Sight & Sound,
Lalann,
Ultravox,
Darondo,
Con Funk Shun,
the Normal,
KRS-One,
Television Personalities,
The Music Machine,
Rhythim Is Rhythim,
K-Klass,
Goldenarms,
Sun Ra,
Crime,
Quantec,
Tomorrow,
Black Flag,
T.S.O.L.,
The Vogues,
kango's stein massive,
Siouxsie and the Banshees,
Terry Callier,
Marvin Gaye,
Susan Cadogan,
Dark Day,
Mad Mike,
Soul II Soul,
Jerry's Kids,
E-Dancer,
Nils Olav,
Mantronix,
Drive Like Jehu,
Motorama,
Clear Light,
The Busters,
Matthew Bourne,
Strawberry Alarm Clock,
Brick,
Joensuu 1685,
One Last Wish,
the Human League,
Newcleus,
Gabor Szabo,
Sad Lovers and Giants,
Barbara Tucker,
Fatback Band,
Franke,
Lakeside,
John Foxx,
Teenage Jesus and the Jerks,
Ossler,
Cal Tjader,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.