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 Zambia and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Philadelphia and Mexico City.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Big Daddy Kane to the crunk kids.
I played it at CBGB's.
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 The Seeds. All the underground hits.
All Sun Ra tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
New Age Steppers,
Rhythm & Sound,
Second Layer,
Cybotron,
Royal Trux,
Alison Limerick,
Bluetip,
Jeru the Damaja,
The Names,
Ponytail,
Lafayette Afro Rock Band,
The Knickerbockers,
Ultramagnetic MC's,
The Pretty Things,
Gil Scott-Heron & Brian Jackson,
Model 500,
Cameo,
The Smoke,
The Skatalites,
Soft Machine,
Eric B and Rakim,
Avey Tare's Slasher Flicks,
Dark Day,
Tomorrow,
Bobby Hutcherson,
Blossom Toes,
Flipper,
The Young Rascals,
Parry Music,
Crispian St. Peters,
The Associates,
Faraquet,
Kango’s Stein Massive,
Ten City,
These Immortal Souls,
The Doobie Brothers,
Max Romeo,
ABC,
The Index,
Angry Samoans,
Cabaret Voltaire,
Pharoah Sanders,
Ralphi Rosario,
Jerry Gold Smith,
Kas Product,
Reagan Youth,
Rakim,
Q65,
Lindisfarne,
Archie Shepp,
Gil Scott Heron,
Sound Behaviour,
The Chocolate Watch Band,
Traffic Nightmare,
Infiniti,
Motorama,
Lou Reed & John Cale,
Iggy Pop,
Faust,
Masters at Work,
Michelle Simonal,
The Black Dice,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.