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 Greece and from Paris.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Portland.
I'm losing my edge to the art-school Tehran 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Magma to the techno kids.
I played it at the Astoria.
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 Howard Jones. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Cluster 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Schoolly D,
Stockholm Monsters,
Cymande,
Babytalk,
Lonnie Liston Smith,
Ituana,
Severed Heads,
Nik Kershaw,
Nirvana,
Byron Stingily,
Harry Pussy,
Siglo XX,
Deutsch Amerikanische Freundschaft,
H. Thieme,
Animal Collective,
Joe Finger,
Cecil Taylor,
Joe Smooth,
Urselle,
Morten Harket,
John Foxx,
Oppenheimer Analysis,
These Immortal Souls,
Chrome,
Judy Mowatt,
The Seeds,
Strawberry Alarm Clock,
Donald Byrd,
New Age Steppers,
Sixth Finger,
DJ Sneak,
Lou Reed & John Cale,
JFA,
The Martian,
Maleditus Sound,
kango's stein massive,
DJ Style,
Ajijia Myrayebe,
Anakelly,
Jesper Dahlback,
The Angels of Light,
The Litter,
Soft Machine,
Idris Muhammad,
It's A Beautiful Day,
Tropical Tobacco,
June Days,
PIL,
Thompson Twins,
The Mojo Men,
Al Stewart,
Ornette Coleman,
Kevin Saunderson,
The Slits,
Eve St. Jones,
Soft Cell,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Liaisons Dangereuses,
The Offenders, The Offenders, The Offenders, The Offenders.
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.