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 Congo and from Salvador.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
I'm losing my edge to the art-school Bologna 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 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 Anthony Braxton to the disco 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 This Heat. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Roxy Music,
Tom Boy,
Sad Lovers and Giants,
London Community Gospel Choir,
Rhythim Is Rhythim,
The Alarm Clocks,
Sun Ra Arkestra,
Yaz,
Section 25,
Deutsch Amerikanische Freundschaft,
Neu!,
Fad Gadget,
David Bowie,
The Sisters of Mercy,
Marine Girls,
The Flesh Eaters,
Public Image Ltd.,
The Saints,
June Days,
Morten Harket,
Public Enemy,
Rosa Yemen,
Juan Atkins,
Fatback Band,
Chris & Cosey,
Matthew Bourne,
Nils Olav,
the Association,
Moebius,
The Slackers,
Eli Mardock,
Oppenheimer Analysis,
The Move,
The Knickerbockers,
Bobby Sherman,
Can,
Groovy Waters,
Au Pairs,
David McCallum,
Bizarre Inc.,
The Skatalites,
Danielle Patucci,
Pet Shop Boys,
The Walker Brothers,
Bronski Beat,
Suburban Knight,
Eric Dolphy,
Pierre Henry,
Bootsy Collins,
Pantytec,
Fifty Foot Hose,
Fluxion,
Goldenarms,
Icehouse,
Delon & Dalcan,
Eurythmics,
The Fire Engines,
Ronan,
Khruangbin,
The Selecter, The Selecter, The Selecter, The Selecter.
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.