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 Croatia and from Copenhagen.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Columbus.
I'm losing my edge to the art-school Spokane 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Barry Ungar to the techno 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 Sonic Youth. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
The Tremeloes,
The Gun Club,
The Shadows of Knight,
Fort Wilson Riot,
The West Coast Pop Art Experimental Band,
Prince Buster,
Circle Jerks,
Can,
Kango’s Stein Massive,
Banda Bassotti,
Heavy D & The Boyz,
JFA,
Boredoms,
Au Pairs,
The Durutti Column,
Robert Görl,
Tommy Roe,
Siouxsie and the Banshees,
U.S. Maple,
The Fugs,
In Retrospect,
Dead Boys,
Cheater Slicks,
Fat Boys,
Little Man,
Lyres,
The Cosmic Jokers,
The Dave Clark Five,
the Association,
Al Stewart,
D'Angelo,
Ash Ra Tempel,
Crash Course in Science,
Pantytec,
Kenny Larkin,
Eric Copeland,
Kayak,
Khruangbin,
Josef K,
Icehouse,
FM Einheit,
The Birthday Party,
Bill Near,
Franke,
Camberwell Now,
Tropical Tobacco,
The Walker Brothers,
T.S.O.L.,
Scott Walker + Sunn O))),
The Music Machine,
Marshall Jefferson,
Grandmaster Flash and the Furious Five,
Eric B and Rakim,
Deakin,
Major Organ And The Adding Machine,
Skaos,
Model 500,
Sixth Finger,
Rhythm & Sound,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jandek, Jandek, Jandek, Jandek.
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.