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 Croatia and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Houston 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 808 sounds with much patience.
I was there when Lou Reed 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 A Certain Ratio to the techno kids.
I played it at the 40 Watt.
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 Dark Day. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Bang On A Can record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Warren Ellis,
Crime,
Flipper,
Index,
Lucky Dragons,
Flamin' Groovies,
Severed Heads,
Gerry Rafferty,
Kaleidoscope,
Dorothy Ashby,
The Alarm Clocks,
The Searchers,
Bauhaus,
Deepchord,
Easy Going,
Erasure,
48th St. Collective,
Amazonics,
The Sound,
The Buckinghams,
Aural Exciters,
Ken Boothe,
Stereo Dub,
Judy Mowatt,
Procol Harum,
The Knickerbockers,
Joe Smooth,
Rosa Yemen,
Sällskapet,
Duran Duran,
Juan Atkins,
Avey Tare's Slasher Flicks,
Whodini,
8 Eyed Spy,
Newcleus,
Desert Stars,
The Neon Judgement,
Joe Finger,
Byron Stingily,
Khruangbin,
Bobby Hutcherson,
Pharoah Sanders,
Oppenheimer Analysis,
The Fall,
The Doors,
Orchestral Manoeuvres in the Dark,
Quadrant,
Animal Collective,
Soft Machine,
Alton Ellis,
Jandek,
Mandrill,
Pet Shop Boys,
Boogie Down Productions,
Talk Talk,
Bobbi Humphrey,
Hardrive,
Throbbing Gristle,
Mr. Review,
Terrestrial Tones,
Faust, Faust, Faust, Faust.
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.