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 Guinea and from Delhi.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Seoul 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Kevin Saunderson to the punk kids.
I played it at the Spitz.
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 China Crisis. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Terrestrial Tones,
Lightning Bolt,
H. Thieme,
Joe Finger,
Danielle Patucci,
Masters at Work,
Pharoah Sanders,
Groovy Waters,
Chris & Cosey,
Flipper,
Man Eating Sloth,
The United States of America,
Gian Franco Pienzio,
Alton Ellis,
Amon Düül,
The Move,
The Evens,
Kings Of Tomorrow,
The Birthday Party,
Spandau Ballet,
Bronski Beat,
Carl Craig,
Los Fastidios,
the Slits,
Liaisons Dangereuses,
Kango’s Stein Massive,
Alphaville,
The Shadows of Knight,
Hot Snakes,
Anakelly,
Lee Hazlewood,
Pantaleimon,
Model 500,
Little Man,
Glambeats Corp.,
Marmalade,
Black Moon,
World's Most,
Section 25,
Neil Young,
Kevin Saunderson,
Aural Exciters,
Fort Wilson Riot,
Japan,
Captain Beefheart & His Magic Band,
CMW,
New York Dolls,
Boredoms,
Crime,
The Detroit Cobras,
Maurizio,
Rowland S Howard / Lydia Lunch,
Stereo Dub,
Banda Bassotti,
Prince Buster,
Brand Nubian,
The Wake,
Brothers Johnson,
The Toasters,
Young Marble Giants,
Cluster, Cluster, Cluster, Cluster.
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.