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 the UAE and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Lille and Lyon.
I'm losing my edge to the art-school Edmonton 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 arpeggiator 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 Ralphi Rosario to the funk kids.
I played it at the Spitz.
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 Robert Wyatt. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Thompson Twins 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Shuggie Otis,
Visionaries,LMNO, T- Love & Iriscience,
Radiopuhelimet,
Oneida,
Stereo Dub,
Dawn Penn,
Byron Stingily,
World's Most,
Throbbing Gristle,
The Cramps,
Fluxion,
Circle Jerks,
John Holt,
Rosa Yemen,
JFA,
Cecil Taylor,
Selector Dub Narcotic,
Ash Ra Tempel,
Grandmaster Flash,
Kenny Larkin,
Jimmy McGriff,
In Retrospect,
The Vogues,
Sight & Sound,
Quadrant,
Peter and Kerry,
Andrew Hill,
Yaz,
The Fire Engines,
The United States of America,
Harpers Bizarre,
Public Image Ltd.,
LL Cool J,
Crime,
Warren Ellis,
Reuben Wilson,
Cheater Slicks,
Black Flag,
Mantronix,
The Cure,
48th St. Collective,
Bronski Beat,
Joy Division,
The Mighty Diamonds,
Pere Ubu,
Carl Craig,
Parry Music,
Fat Boys,
Tears for Fears,
Siglo XX,
Thompson Twins,
Kayak,
Tim Buckley,
Public Enemy,
KRS-One,
Babytalk,
Youth Brigade,
Aaron Thompson,
The Black Dice,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.