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 Turkmenistan and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Stockholm 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 Donald Fagen 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 DJ Style to the dance kids.
I played it at the Crocodile.
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 Shoche. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Lizzy Mercier Descloux 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 '70s cut and another box set from the '80s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Soul Sonic Force,
Shoche,
The Moody Blues,
Eyeless In Gaza,
The Skatalites,
Dead Boys,
Wolf Eyes,
Desert Stars,
Matthew Halsall,
Ponytail,
Big Daddy Kane,
Sugar Minott,
Fluxion,
Zero Boys,
Swans,
Pete Rock & C.L. Smooth,
Oppenheimer Analysis,
Delon & Dalcan,
Stereo Dub,
Teenage Jesus and the Jerks,
Rufus Thomas,
Echospace,
Bad Manners,
The Velvet Underground,
X-Ray Spex,
the Germs,
UT,
Dr. Dre and Snoop Doggy Dog,
E-Dancer,
Goldenarms,
Nirvana,
Justin Hinds & The Dominoes,
Interpol,
The Selecter,
Severed Heads,
Excepter,
Jeru the Damaja,
Dark Day,
Henry Cow,
Fat Boys,
Major Organ And The Adding Machine,
Saccharine Trust,
the Bar-Kays,
Carl Craig,
Monolake,
Amon Düül II,
Blossom Toes,
The Cosmic Jokers,
The Smoke,
DJ Sneak,
Peter Gordon & Love of Life Orchestra,
Rhythm & Sound,
Cymande,
Josef K,
Agitation Free,
The Mojo Men,
Ice-T,
The Seeds,
Swell Maps,
James Chance & The Contortions,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.