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 South Sudan and from Portland.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Accra.
I'm losing my edge to the art-school Spokane 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Charles Mingus to the jazz kids.
I played it at the Troubador.
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 Spandau Ballet. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Pylon,
Dorothy Ashby,
Crash Course in Science,
China Crisis,
Mark Hollis,
Art Ensemble Of Chicago,
The Zeros,
Main Source,
Barbara Tucker,
This Heat,
Amazonics,
Glambeats Corp.,
Jeff Mills,
X-102,
Lizzy Mercier Descloux,
Yaz,
DNA,
CMW,
Traffic Nightmare,
Marcia Griffiths,
Kevin Saunderson,
Ultramagnetic MC's,
David Axelrod,
Eli Mardock,
ABBA,
Reagan Youth,
Roy Ayers,
Davy DMX,
the Association,
Röyhkä ja Rättö ja Lehtisalo,
Au Pairs,
Delta 5,
The Detroit Cobras,
Chris Corsano,
Warren Ellis,
Sonic Youth,
Jerry Gold Smith,
Fela Kuti,
Lou Reed & Metallica,
Darondo,
Average White Band,
Jesper Dahlbäck,
Rahsaan Roland Kirk,
Jacob Miller,
Todd Rundgren,
Gregory Isaacs,
Can,
The Invisible,
kango's stein massive,
Saccharine Trust,
cv313,
Brass Construction,
ABC,
Bluetip,
The Music Machine,
Nik Kershaw,
Fatback Band,
Pharoah Sanders,
Deutsch Amerikanische Freundschaft,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.