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 Liechtenstein and from Columbus.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Toronto and Lagos.
I'm losing my edge to the art-school Woodstock 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Unrelated Segments 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 Derrick May. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Gil Scott-Heron and Jamie xx,
Barry Ungar,
Mars,
Janne Schatter,
The Trojans,
K-Klass,
The Pretty Things,
Radio Birdman,
The Beau Brummels,
The Durutti Column,
Public Image Ltd.,
Pharaoh Sanders and the Fire Engines,
Excepter,
Todd Terry,
Gian Franco Pienzio,
Jawbox,
Yaz,
Junior Murvin,
Gang Green,
Newcleus,
R.M.O.,
Gil Scott Heron,
Dual Sessions,
John Lydon,
Section 25,
The Moleskins,
Tomorrow,
A Certain Ratio,
Bad Manners,
Soft Machine,
Absolute Body Control,
Essential Logic,
Matthew Bourne,
Make Up,
Harmonia,
The Chocolate Watch Band,
Mo-Dettes,
Lou Reed & Metallica,
ABC,
Sex Pistols,
The Vogues,
Chrome,
Monks,
Depeche Mode,
Harry Pussy,
Joyce Sims,
AZ,
Eli Mardock,
Danielle Patucci,
MC5,
Ash Ra Tempel,
the Association,
Moebius,
Ultramagnetic MC's,
Moby Grape,
Rahsaan Roland Kirk,
Buzzcocks,
Hoover,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.