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 Latvia and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Columbus and Mumbai.
I'm losing my edge to the art-school Tehran 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 Deepchord to the grime 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 Josef K. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a T. Rex record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun Ra,
The Pop Group,
Whodini,
Sex Pistols,
Camron Feat. Memphis Bleek And Beenie Seigel,
Groovy Waters,
X-Ray Spex,
Angry Samoans,
The Birthday Party,
Dave Gahan,
Subhumans,
Severed Heads,
Eric Dolphy,
Saccharine Trust,
Marmalade,
Bush Tetras,
Cameo,
Drexciya,
Masters at Work,
ABBA,
Black Sheep,
Liaisons Dangereuses,
Magma,
Terry Callier,
AZ,
Adolescents,
Nick Cave & The Bad Seeds,
Roy Ayers Ubiquity,
Pet Shop Boys,
Angels of Light & Akron/Family,
Boz Scaggs,
Skaos,
The Modern Lovers,
Camron Feat. Jay Z And Juelz,
Goldenarms,
the Fania All-Stars,
Funky Four + One,
Yellowson,
Lonnie Liston Smith,
F. McDonald,
Vaughan Mason & Crew,
Pulsallama,
Porter Ricks,
Tears for Fears,
Deakin,
Stiv Bators,
Gregory Isaacs,
Crooked Eye,
Visage,
the Slits,
The Searchers,
Bobby Sherman,
Con Funk Shun,
Eli Mardock,
Dual Sessions,
Freddie Wadling,
Monks,
Malaria!,
Mary Jane Girls,
Scott Walker + Sunn O))),
Graham Central Station,
B.T. Express,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.