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 Cairo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Portland and Accra.
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 1973 at the first Television practice in a loft in New York.
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 Ossler to the jazz kids.
I played it at the Spitz.
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 A Flock of Seagulls. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Audionom,
Letta Mbulu,
Boredoms,
Nirvana,
Eden Ahbez,
Eli Mardock,
Mars,
Country Joe & The Fish,
Gang of Four,
Ituana,
DNA,
Swans,
Suburban Knight,
Art Ensemble Of Chicago,
Don Cherry,
Jandek,
Lightning Bolt,
The Busters,
John Foxx,
Eve St. Jones,
Iggy Pop,
Lungfish,
Godley & Creme,
Chrome,
B.T. Express,
Fela Kuti,
Siouxsie and the Banshees,
The Kinks,
Pharaoh Sanders and the Fire Engines,
Morten Harket,
Matthew Bourne,
Technova,
Bill Near,
Inner City,
DeepChord presents Echospace,
Darondo,
Niagra,
Masters at Work,
Main Source,
Pantytec,
Bobby Hutcherson,
Gil Scott-Heron & Brian Jackson,
Althea and Donna,
Pylon,
Von Mondo,
Robert Wyatt,
Drexciya,
Oblivians,
Deutsch Amerikanische Freundschaft,
The Slackers,
Selector Dub Narcotic,
Franke,
Josef K,
Eddi Front,
Fluxion,
the Association,
Bob Dylan,
The Star Department,
Ohio Players,
Can,
Rhythm & Sound,
Skarface, Skarface, Skarface, Skarface.
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.