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 Benin and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Johannesburg 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Zapp to the crunk 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 Nils Olav. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Black Sheep 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 '70s.
I hear you're buying a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
Gil Scott-Heron & Brian Jackson,
Minnie Riperton,
DeepChord presents Echospace,
Pantaleimon,
Alton Ellis,
the Association,
Sunsets and Hearts,
the Fania All-Stars,
The Star Department,
The Slits,
Morten Harket,
OOIOO,
The Dirtbombs,
Harpers Bizarre,
Fear,
Boredoms,
Godley & Creme,
Marvin Gaye,
The Leaves,
Severed Heads,
The Cramps,
Technova,
The Durutti Column,
Cecil Taylor,
Inner City,
Eyeless In Gaza,
Bang On A Can,
John Lydon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boogie Down Productions,
The Offenders,
The Men They Couldn't Hang,
Johnny Osbourne,
The Smoke,
Terry Callier,
Lou Christie,
The Neon Judgement,
Mary Jane Girls,
The Black Dice,
Kas Product,
Strawberry Alarm Clock,
Kurtis Blow,
Derrick Morgan,
Barry Ungar,
Kool G Rap & DJ Polo,
The Jesus and Mary Chain,
Sparks,
Khruangbin,
Ash Ra Tempel,
Amazonics,
Ossler,
Alice Coltrane,
The Mighty Diamonds,
Lyres,
Avey Tare,
The Pretty Things,
La Düsseldorf,
Rahsaan Roland Kirk,
Black Moon, Black Moon, Black Moon, Black Moon.
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.