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 Belize and from Bologna.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Accra.
I'm losing my edge to the art-school New York 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Robert Hood to the grime kids.
I played it at the Hacienda.
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 Dark Day. All the underground hits.
All Avey Tare & Kría Brekkan tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
The Mummies,
Kerrie Biddell,
De La Soul & Jungle Brothers,
Young Marble Giants,
MDC,
Aural Exciters,
Scan 7,
Public Enemy,
Eve St. Jones,
The Stooges,
Lucky Dragons,
Barrington Levy,
Frankie Knuckles,
Kas Product,
DeepChord presents Echospace,
Major Organ And The Adding Machine,
The Five Americans,
Hasil Adkins,
The Cramps,
The Fortunes,
The Slits,
Orchestral Manoeuvres in the Dark,
D'Angelo,
Cecil Taylor,
Alison Limerick,
Accadde A,
Röyhkä ja Rättö ja Lehtisalo,
Joe Finger,
World's Most,
Skaos,
Oblivians,
Cabaret Voltaire,
The Zeros,
Procol Harum,
Monolake,
Rosa Yemen,
10cc,
Aswad,
Lou Reed & Metallica,
Amon Düül,
Faust,
Wings,
X-Ray Spex,
Sun Ra,
DJ Style,
Arab on Radar,
Prince Buster,
Reuben Wilson,
Ralphi Rosario,
The Monks,
Ten City,
Graham Central Station,
Kenny Larkin,
Buzzcocks,
Negative Approach,
Mad Mike,
Crime,
Soft Machine,
The Last Poets,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.