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 Israel and from Salvador.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Bremen and Portland.
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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Deutsch Amerikanische Freundschaft to the grime 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 Loose Ends. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every the Soft Cell 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Carl Craig,
Ossler,
Erasure,
Franke,
Max Romeo,
Howard Jones,
Louis and Bebe Barron,
Art Ensemble Of Chicago,
Au Pairs,
Frankie Knuckles,
Rapeman,
Matthew Halsall,
Skaos,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Görl,
Thee Headcoats,
Tomorrow,
Althea and Donna,
Glambeats Corp.,
Saccharine Trust,
June of 44,
Electric Light Orchestra,
Hashim,
B.T. Express,
Joyce Sims,
Bootsy Collins,
Scratch Acid,
The Happenings,
Sad Lovers and Giants,
Electric Prunes,
Tom Boy,
cv313,
Man Parrish,
Delta 5,
The Music Machine,
the Association,
Lungfish,
Bluetip,
Sound Behaviour,
Thinking Fellers Union Local 282,
Jacob Miller,
Ponytail,
Sandy B,
JFA,
Urselle,
Wire,
Arthur Verocai,
the Slits,
Tropical Tobacco,
Lonnie Liston Smith,
Cymande,
Index,
Colin Newman,
Erykah Badu,
Piero Umiliani,
Dennis Brown,
Marc Almond,
Severed Heads,
Minutemen,
Blancmange,
Joensuu 1685, Joensuu 1685, Joensuu 1685, Joensuu 1685.
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.