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 Thailand and from Tehran.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Stockholm 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 spring reverb 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 Minnie Riperton to the dance kids.
I played it at the Astoria.
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 K-Klass. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
London Community Gospel Choir,
Lucky Dragons,
Skarface,
Lebanon Hanover,
Average White Band,
Neu!,
Barrington Levy,
Sonic Youth,
The Index,
Dennis Brown,
Neil Young & Crazy Horse,
Boredoms,
Gil Scott-Heron and Jamie xx,
The Standells,
June of 44,
Suicide,
The Neon Judgement,
Derrick May,
Graham Central Station,
Pole,
the Germs,
Pulsallama,
Oneida,
Parry Music,
Wasted Youth,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Mr. Review,
The Dead C,
Scion,
Agitation Free,
New York Dolls,
Sun City Girls,
Livin' Joy,
John Holt,
Soul Sonic Force,
Roxy Music,
The Jesus and Mary Chain,
Banda Bassotti,
PIL,
The Beau Brummels,
The Moleskins,
Roy Ayers,
Outsiders,
Circle Jerks,
DNA,
Jerry Gold Smith,
Louis and Bebe Barron,
The Stooges,
Brass Construction,
Crooked Eye,
The J.B.'s,
The New Christs,
Main Source,
Amon Düül II,
Eve St. Jones,
the Normal,
The Fall,
Schoolly D,
Judy Mowatt,
Fat Boys,
A Flock of Seagulls,
Angels of Light & Akron/Family,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.