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 Paraguay and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Madrid.
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 arpeggiator 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 The Selecter to the electroclash 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 Aural Exciters. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Dorothy Ashby 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 '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Blake Baxter,
Ituana,
Ohio Players,
One Last Wish,
Pagans,
Matthew Bourne,
Maleditus Sound,
The Mojo Men,
Das Ding,
Sällskapet,
Sixth Finger,
The Real Kids,
Amon Düül,
The Trojans,
Marc Romboy vs. Booka Shade,
Bauhaus,
Icehouse,
Sexual Harrassment,
The Names,
Intrusion,
The American Breed,
Heavy D & The Boyz,
Circle Jerks,
Dead Boys,
The J.B.'s,
The Searchers,
Ultra Naté,
Sparks,
The Fortunes,
Robert Görl,
Procol Harum,
Nation of Ulysses,
Fifty Foot Hose,
Sun Ra Arkestra,
Gastr Del Sol,
OOIOO,
Donald Byrd,
Marmalade,
Strawberry Alarm Clock,
Slick Rick,
Crispy Ambulance,
Teenage Jesus and the Jerks,
Cabaret Voltaire,
Boz Scaggs,
Skarface,
Kenny Larkin,
This Heat,
Glambeats Corp.,
Gil Scott Heron,
The Mummies,
John Lydon,
Rites of Spring,
Dark Day,
X-102,
Super Lover Cee & Casanova Rud,
10cc,
Liliput,
Public Enemy,
Stereo Dub,
Zapp, Zapp, Zapp, Zapp.
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.