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 Hungary and from Bologna.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Portland.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 Vaughan Mason & Crew to the punk 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 Jesper Dahlbäck. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Magma record on German import.
I heard that you have a white label of every seminal grunge 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 oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Kauko Röyhkä ja Narttu,
Yusef Lateef,
Scratch Acid,
Bad Manners,
the Bar-Kays,
Max Romeo,
Anthony Braxton,
Ultra Naté,
Super Lover Cee & Casanova Rud,
the Slits,
Cluster,
Teenage Jesus and the Jerks,
Saccharine Trust,
Wasted Youth,
Letta Mbulu,
The Beau Brummels,
Alton Ellis,
Hashim,
Slave,
Henry Cow,
The Cramps,
Jawbox,
Buzzcocks,
Mad Mike,
MDC,
X-101,
Leonard Cohen,
The Doobie Brothers,
Negative Approach,
The Trojans,
Ponytail,
Jesper Dahlbäck,
cv313,
A Certain Ratio,
Swell Maps,
Camron Feat. Jay Z And Juelz,
Joensuu 1685,
Crime,
The Alarm Clocks,
Public Image Ltd.,
Marine Girls,
Avey Tare & Kría Brekkan,
Neil Young & Crazy Horse,
Black Pus,
Mantronix,
Brass Construction,
Roger Hodgson,
Silicon Teens,
Oppenheimer Analysis,
Clear Light,
Bootsy Collins,
Con Funk Shun,
Nation of Ulysses,
Man Eating Sloth,
Spandau Ballet,
Quantec,
The Walker Brothers,
June of 44,
Robert Görl,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.