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 United States and from Jakarta.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Accra and Paris.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 A Certain Ratio to the disco kids.
I played it at the 40 Watt.
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 The Fortunes. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Stereo Dub 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
Strawberry Alarm Clock,
Eric B and Rakim,
Dual Sessions,
Visage,
Eric Copeland,
Sound Behaviour,
Glambeats Corp.,
Sam Rivers,
Shuggie Otis,
Mantronix,
The Mummies,
Popol Vuh,
Bluetip,
Magma,
Be Bop Deluxe,
Public Enemy,
Matthew Halsall,
June of 44,
L. Decosne,
The Fuzztones,
Niagra,
Eli Mardock,
Dawn Penn,
a-ha,
Liaisons Dangereuses,
These Immortal Souls,
Tom Boy,
10cc,
Rekid,
The Grass Roots,
The Jesus and Mary Chain,
The Fortunes,
Simply Red,
Andrew Hill,
Alice Coltrane,
Television Personalities,
Sex Pistols,
Model 500,
Eyeless In Gaza,
Alton Ellis,
Rhythim Is Rhythim,
Spoonie Gee,
Minny Pops,
The Litter,
In Retrospect,
Grauzone,
New York Dolls,
Ronnie Foster,
Echo & the Bunnymen,
Chris Corsano,
Magazine,
The Fall,
The Motions,
Lizzy Mercier Descloux,
The Golliwogs,
Zapp,
Mary Jane Girls,
Black Flag,
Japan,
Morten Harket,
Hardrive,
Derrick May,
The Misunderstood,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.