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 Moldova and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Lyon and Lille.
I'm losing my edge to the art-school Beijing 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 organ sounds with much patience.
I was there when Nile Rodgers 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 Arcadia to the punk kids.
I played it at the Troubador.
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 Cecil Taylor. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
A Flock of Seagulls,
Selector Dub Narcotic,
The Golliwogs,
The Slackers,
Kerri Chandler,
Gil Scott Heron,
Adolescents,
The Gap Band,
Kings Of Tomorrow,
Donny Hathaway,
Buzzcocks,
Thee Headcoats,
Sound Behaviour,
Average White Band,
Traffic Nightmare,
Henry Cow,
Lightning Bolt,
Malaria!,
Lower 48,
the Human League,
Jacques Brel,
Neil Young,
Camron Feat. Jay Z And Juelz,
Kango’s Stein Massive,
Banda Bassotti,
Gang of Four,
London Community Gospel Choir,
The Smiths,
Scientists,
Roxette,
Boz Scaggs,
Unrelated Segments,
Bush Tetras,
Unwound,
OOIOO,
Rowland S Howard / Lydia Lunch,
Pantytec,
The Sound,
The Seeds,
Bang On A Can,
Art Ensemble Of Chicago,
Avey Tare's Slasher Flicks,
Sam Rivers,
New Order,
Teenage Jesus and the Jerks,
Sight & Sound,
Terrestrial Tones,
The Star Department,
Black Moon,
Stiv Bators,
Saccharine Trust,
DeepChord presents Echospace,
Eden Ahbez,
Red Lorry Yellow Lorry,
Fort Wilson Riot,
Basic Channel,
Gil Scott-Heron & Brian Jackson,
Gregory Isaacs,
Cal Tjader,
Dark Day,
Qualms, Qualms, Qualms, Qualms.
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.