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 Ghana and from Woodstock.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1979.
I'm losing my edge.
To all the kids in Beijing and Philadelphia.
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 808 sounds with much patience.
I was there when Michael McDonald 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 Avey Tare to the crunk kids.
I played it at the Troubador.
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 Hot Snakes. All the underground hits.
All Ultimate Spinach tracks. I heard you have a vinyl of every Sex Pistols 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Ralphi Rosario,
Joyce Sims,
Josef K,
Junior Murvin,
Parry Music,
Ituana,
Don Cherry,
The Sound,
John Cale,
Lindisfarne,
OOIOO,
Nation of Ulysses,
Sad Lovers and Giants,
Girls At Our Best!,
UT,
Icehouse,
Barclay James Harvest,
Black Sheep,
Rapeman,
Von Mondo,
Connie Case,
Albert Ayler,
Avey Tare's Slasher Flicks,
Flash Fearless,
Funkadelic,
Erasure,
Ornette Coleman,
a-ha,
Morten Harket,
Funky Four + One,
Brothers Johnson,
Mars,
Nas,
Bobby Hutcherson,
Procol Harum,
Howard Jones,
Chrome,
Grauzone,
the Human League,
Easy Going,
Country Teasers,
Supertramp,
Boogie Down Productions,
kango's stein massive,
Jesper Dahlback,
Lightning Bolt,
Manfred Mann's Earth Band,
Ronnie Foster,
Roy Ayers,
Freddie Wadling,
Niagra,
The Black Dice,
The Stooges,
Avey Tare,
Gastr Del Sol,
T.S.O.L.,
Q and Not U,
Metal Thangz,
Quantec,
The Moleskins,
Cal Tjader,
The Slackers,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.