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 Estonia and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Lagos.
I'm losing my edge to the art-school Lille 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 synthesizer 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 Sällskapet to the electroclash kids.
I played it at CBGB's.
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 Count Five. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Crispian St. Peters 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Minny Pops,
Pussy Galore,
Lyres,
One Last Wish,
Average White Band,
Warren Ellis,
Deadbeat,
The Birthday Party,
Hoover,
U.S. Maple,
The Slackers,
Aural Exciters,
Cal Tjader,
Neu!,
Lower 48,
X-102,
FM Einheit,
JFA,
Ludus,
Maleditus Sound,
Quantec,
Urselle,
Piero Umiliani,
Frankie Knuckles,
Fela Kuti,
Excepter,
The Durutti Column,
CMW,
Rekid,
Todd Terry,
the Normal,
Alice Coltrane,
Thompson Twins,
Camron Feat. Memphis Bleek And Beenie Seigel,
Popol Vuh,
June Days,
Stereo Dub,
Rhythim Is Rhythim,
Toni Rubio,
the Slits,
Lebanon Hanover,
Sparks,
Suicide,
Bill Near,
Neil Young & Crazy Horse,
Unrelated Segments,
Janne Schatter,
Infiniti,
Fugazi,
Clear Light,
Porter Ricks,
Kas Product,
Jesper Dahlback,
Gang of Four,
The Cowsills,
Dead Boys,
Brand Nubian,
The Kinks,
These Immortal Souls,
Deutsch Amerikanische Freundschaft,
Newcleus,
Rufus Thomas,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.