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 Pakistan and from London.
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 1970.
I'm losing my edge.
To all the kids in Tokyo and New York.
I'm losing my edge to the art-school Bologna 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Nils Olav to the jazz kids.
I played it at the Crocodile.
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 Bobbi Humphrey. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
Sixth Finger,
Talk Talk,
The West Coast Pop Art Experimental Band,
Traffic Nightmare,
X-101,
Idris Muhammad,
The Moody Blues,
Eric Copeland,
Bang On A Can,
Ponytail,
Black Bananas,
Massinfluence,
Lebanon Hanover,
Big Daddy Kane,
The Walker Brothers,
Sonic Youth,
Strawberry Alarm Clock,
Pulsallama,
Michelle Simonal,
Livin' Joy,
Beasts of Bourbon,
Alice Coltrane,
Gang Starr,
Soft Machine,
The Monks,
Deadbeat,
Grauzone,
Albert Ayler,
The Tremeloes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Gap Band,
The Sisters of Mercy,
the Normal,
Lonnie Liston Smith,
Panda Bear,
The Fugs,
Depeche Mode,
Justin Hinds & The Dominoes,
Al Stewart,
cv313,
The Sound,
Interpol,
MDC,
Flipper,
Kauko Röyhkä ja Narttu,
Johnny Clarke,
The Searchers,
Pagans,
Todd Rundgren,
Erasure,
the Sonics,
Gregory Isaacs,
Rakim,
The Count Five,
This Heat,
Sun Ra,
Davy DMX,
Jandek,
Patti Smith,
The Dave Clark Five,
L. Decosne,
Ultramagnetic MC's,
Average White Band, Average White Band, Average White Band, Average White Band.
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.