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 Belgium and from Shanghai.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Houston.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 Bobby Womack to the punk 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 Danielle Patucci. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every MC5 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
U.S. Maple,
Anthony Braxton,
Youth Brigade,
EPMD,
It's A Beautiful Day,
Marc Romboy vs. Booka Shade,
cv313,
Idris Muhammad,
Harpers Bizarre,
The Star Department,
The J.B.'s,
Ultravox,
Alton Ellis,
Faust,
JFA,
Bobbi Humphrey,
Flipper,
Andrew Ashong & Theo Parrish,
The Index,
Skriet,
Alice Coltrane,
Suburban Knight,
These Immortal Souls,
Eric B and Rakim,
The Doobie Brothers,
Animal Collective,
Iggy Pop,
The Birthday Party,
John Holt,
Mo-Dettes,
Be Bop Deluxe,
Ultramagnetic MC's,
Gichy Dan,
Agent Orange,
Sällskapet,
Colin Newman,
Lebanon Hanover,
Icehouse,
the Sonics,
10cc,
Quando Quango,
Harry Pussy,
Hoover,
Buzzcocks,
The Litter,
Groovy Waters,
Rapeman,
Crime,
Ronnie Foster,
Kauko Röyhkä ja Narttu,
The Dead C,
Siouxsie and the Banshees,
Ludus,
Skaos,
CMW,
Wally Richardson,
Angels of Light & Akron/Family,
Ash Ra Tempel,
Sister Nancy,
Deadbeat,
Niagra,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.