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 Netherlands 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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Tehran.
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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Althea and Donna to the dance 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 Pulsallama. All the underground hits.
All Moebius tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 Siglo XX record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Robert Görl,
Sandy B,
Cabaret Voltaire,
Ponytail,
The Offenders,
Kings Of Tomorrow,
Rapeman,
The Knickerbockers,
The Gap Band,
Dorothy Ashby,
Mad Mike,
Grey Daturas,
Aural Exciters,
Gerry Rafferty,
Basic Channel,
Lakeside,
Ajijia Myrayebe,
Funkadelic,
Jacob Miller,
Swell Maps,
Ten City,
Cecil Taylor,
Stereo Dub,
Smog,
Gang Starr,
The Mighty Diamonds,
Banda Bassotti,
Zero Boys,
Malaria!,
Soft Cell,
Graham Central Station,
Faust,
Easy Going,
The Doobie Brothers,
Parry Music,
The Techniques,
Moby Grape,
Vainqueur,
The Move,
Yusef Lateef,
H. Thieme,
Josef K,
Traffic Nightmare,
Thinking Fellers Union Local 282,
The Names,
E-Dancer,
The Dirtbombs,
Barrington Levy,
Can,
Visionaries,LMNO, T- Love & Iriscience,
The Fall,
Guru Guru,
The Fugs,
Jacques Brel,
Louis and Bebe Barron,
The Raincoats,
The Selecter,
Pantytec,
FM Einheit,
KRS-One,
the Fania All-Stars,
Tears for Fears,
Scott Walker,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.