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 Trinidad & Tobago and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1975.
I'm losing my edge.
To all the kids in Seoul and Tehran.
I'm losing my edge to the art-school Johannesburg 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 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 Outsiders to the jazz kids.
I played it at the Roxy.
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 Dual Sessions. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Flipper,
The Electric Prunes,
Grandmaster Flash,
Pulsallama,
PIL,
Tomorrow,
The Count Five,
Be Bop Deluxe,
Roxette,
Prince Buster,
Robert Hood,
Mandrill,
Loose Ends,
Moby Grape,
Accadde A,
Amazonics,
Man Eating Sloth,
Ash Ra Tempel,
Röyhkä ja Rättö ja Lehtisalo,
Talk Talk,
Aural Exciters,
Minnie Riperton,
Tubeway Army,
New Age Steppers,
the Soft Cell,
Tears for Fears,
Boogie Down Productions,
La Düsseldorf,
Cal Tjader,
The Human League,
Glambeats Corp.,
Pete Rock & C.L. Smooth,
Flash Fearless,
Q65,
U.S. Maple,
The Leaves,
Connie Case,
Duran Duran,
Sex Pistols,
Throbbing Gristle,
Juan Atkins,
Average White Band,
Donald Byrd,
Khruangbin,
Rhythm & Sound,
Sound Behaviour,
Lalo Schifrin,
Trumans Water,
Excepter,
A Certain Ratio,
Eve St. Jones,
Marc Romboy vs. Booka Shade,
Metal Thangz,
Lafayette Afro Rock Band,
Malaria!,
MC5,
Neil Young & Crazy Horse,
Agitation Free,
The Velvet Underground,
Liaisons Dangereuses,
Monolake, Monolake, Monolake, Monolake.
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.