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 Finland and from Beijing.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Madrid and Columbus.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the guitar 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 Sam Rivers to the jazz kids.
I played it at the Hacienda.
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 Oppenheimer Analysis. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet 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?
Underground Resistance,
Porter Ricks,
Goldenarms,
Amazonics,
Eyeless In Gaza,
Joensuu 1685,
Todd Terry,
Chrome,
Camberwell Now,
The Music Machine,
Barrington Levy,
Thompson Twins,
Jimmy McGriff,
Ash Ra Tempel,
Aloha Tigers,
Delon & Dalcan,
Heaven 17,
Avey Tare & Kría Brekkan,
The Cramps,
The Busters,
Radiopuhelimet,
Arthur Verocai,
Whodini,
Super Lover Cee & Casanova Rud,
Fad Gadget,
Easy Going,
The Searchers,
Faraquet,
The Peanut Butter Conspiracy,
Wighnomy Brothers & Robag Wruhme,
The Neon Judgement,
Sister Nancy,
The Kinks,
Kaleidoscope,
Bill Wells,
Maurizio,
Soul Sonic Force,
Subhumans,
Kas Product,
Mars,
Lightning Bolt,
Minnie Riperton,
the Slits,
Suicide,
Selector Dub Narcotic,
Lindisfarne,
Ice-T,
The Associates,
Lou Reed & Metallica,
Marshall Jefferson,
Cecil Taylor,
Skaos,
Deepchord,
Black Bananas,
Kauko Röyhkä ja Narttu,
Nation of Ulysses,
June Days,
Rufus Thomas,
EPMD,
Cybotron,
L. Decosne,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.