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 Panama and from Paris.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1973.
I'm losing my edge.
To all the kids in New York and Spokane.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 The American Breed to the techno kids.
I played it at the Crocodile.
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 Arcadia. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Icehouse,
Brothers Johnson,
The Remains,
Sunsets and Hearts,
Supertramp,
Jimmy McGriff,
The Vogues,
Public Image Ltd.,
the Fania All-Stars,
Cal Tjader,
Cameo,
The Red Krayola,
The Fire Engines,
Terrestrial Tones,
The Tremeloes,
Ituana,
Country Teasers,
Radio Birdman,
Shuggie Otis,
Hardrive,
The Doors,
The Victims,
Arcadia,
The Men They Couldn't Hang,
Art Ensemble Of Chicago,
Massinfluence,
Nik Kershaw,
Unrelated Segments,
Scratch Acid,
World's Most,
Jandek,
Lou Reed & John Cale,
Fad Gadget,
The Blackbyrds,
Cecil Taylor,
Oppenheimer Analysis,
John Holt,
Circle Jerks,
Crispian St. Peters,
Tres Demented,
Tom Boy,
Ultra Naté,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gang of Four,
The Sonics,
Young Marble Giants,
Amon Düül,
The Flesh Eaters,
Drexciya,
Erykah Badu,
Tears for Fears,
Ponytail,
Underground Resistance,
Blossom Toes,
Barbara Tucker,
The Mojo Men,
DeepChord presents Echospace,
Albert Ayler,
Von Mondo,
The Move, The Move, The Move, The Move.
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.