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 Taiwan and from Johannesburg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Columbus 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 Donald Fagen 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 Echo & the Bunnymen to the electroclash kids.
I played it at Cafe Wha.
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 Eve St. Jones. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Motorama 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance 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?
Public Image Ltd.,
JFA,
Pete Rock & C.L. Smooth,
The Move,
Avey Tare's Slasher Flicks,
John Coltrane,
The Divine Comedy,
Animal Collective,
FM Einheit,
Hoover,
Cameo,
Thinking Fellers Union Local 282,
Jimmy McGriff,
CMW,
Jeff Lynne,
The American Breed,
Joey Negro,
John Holt,
The Monochrome Set,
Kauko Röyhkä ja Narttu,
The Music Machine,
The Durutti Column,
Howard Jones,
Zapp,
The Fugs,
Subhumans,
the Fania All-Stars,
Don Cherry,
Eric B and Rakim,
Drexciya,
Bill Wells,
Audionom,
Ralphi Rosario,
The Remains,
Kool Moe Dee,
The Knickerbockers,
Whodini,
Jandek,
Nils Olav,
Joe Smooth,
Moby Grape,
Donny Hathaway,
Deakin,
Curtis Mayfield,
Soulsonic Force,
Minnie Riperton,
Nico,
Janne Schatter,
Lonnie Liston Smith,
Sun Ra Arkestra,
David Axelrod,
The Searchers,
Dual Sessions,
The Black Dice,
Frankie Knuckles,
Television Personalities,
Chris Corsano,
Ultramagnetic MC's,
The Litter,
Japan,
Cymande,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.