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 Greece and from Lagos.
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 1970.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school London 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Deepchord to the techno kids.
I played it at the Astoria.
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 Bad Manners. All the underground hits.
All Bootsy's Rubber Band tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Bluetip,
Beasts of Bourbon,
Man Eating Sloth,
Neil Young,
Alison Limerick,
Mark Hollis,
Sad Lovers and Giants,
The Shadows of Knight,
Sandy B,
Delta 5,
Cecil Taylor,
Crispian St. Peters,
Visage,
Black Sheep,
The Slackers,
Minnie Riperton,
Kevin Saunderson,
Alton Ellis,
Soul II Soul,
The Mojo Men,
The Pretty Things,
Harpers Bizarre,
John Foxx,
Wasted Youth,
Zero Boys,
Rahsaan Roland Kirk,
Brick,
CMW,
Sex Pistols,
Robert Görl,
The Tremeloes,
Fort Wilson Riot,
The West Coast Pop Art Experimental Band,
London Community Gospel Choir,
Laurel Aitken,
The Walker Brothers,
John Cale,
Lou Christie,
China Crisis,
Fatback Band,
Los Fastidios,
Major Organ And The Adding Machine,
The Gladiators,
Magazine,
The Pop Group,
Porter Ricks,
The Divine Comedy,
Schoolly D,
Sound Behaviour,
Television Personalities,
The Music Machine,
Scan 7,
Boz Scaggs,
The Moody Blues,
Colin Newman,
Bootsy's Rubber Band,
Masters at Work,
Oblivians,
Gil Scott-Heron and Jamie xx,
Rhythm & Sound,
Graham Central Station,
Kauko Röyhkä ja Narttu,
Bobbi Humphrey,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.