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 Congo and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Manila 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 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 Ronan to the punk kids.
I played it at the Hacienda.
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 Black Moon. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
10cc,
Alice Coltrane,
Jacques Brel,
Saccharine Trust,
Qualms,
Erykah Badu,
Kayak,
The United States of America,
Electric Light Orchestra,
Kool Moe Dee,
The Doors,
Kenny Larkin,
L. Decosne,
Skarface,
Kevin Saunderson,
Avey Tare's Slasher Flicks,
Liaisons Dangereuses,
The Birthday Party,
The Smiths,
Amazonics,
H. Thieme,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lizzy Mercier Descloux,
Radio Birdman,
Alton Ellis,
Sunsets and Hearts,
Throbbing Gristle,
Andrew Ashong & Theo Parrish,
Ten City,
Rhythim Is Rhythim,
James Chance & The Contortions,
Gabor Szabo,
Los Fastidios,
The Litter,
Lucky Dragons,
Camberwell Now,
Kaleidoscope,
Judy Mowatt,
Blake Baxter,
James White and The Blacks,
the Soft Cell,
Crooked Eye,
Ultimate Spinach,
The Busters,
Rufus Thomas,
Schoolly D,
Cheater Slicks,
Traffic Nightmare,
Section 25,
Idris Muhammad,
Gastr Del Sol,
Y Pants,
The Remains,
China Crisis,
Funkadelic,
John Coltrane,
Whodini,
Bobby Sherman,
Sam Rivers,
Kool G Rap & DJ Polo,
Interpol,
Rites of Spring,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.