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 Tehran.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1979.
I'm losing my edge.
To all the kids in Bremen and Shanghai.
I'm losing my edge to the art-school Houston 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 marimba 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 Moss Icon to the dance kids.
I played it at the Spitz.
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 John Foxx. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Stetsasonic,
Idris Muhammad,
The Birthday Party,
Blossom Toes,
Guru Guru,
Sexual Harrassment,
Camron Feat. Memphis Bleek And Beenie Seigel,
Q65,
Lou Reed & Metallica,
Chris Corsano,
Jandek,
Kool G Rap & DJ Polo,
Barry Ungar,
Curtis Mayfield,
Unwound,
Wasted Youth,
Brass Construction,
The Invisible,
Danielle Patucci,
Ronnie Foster,
The Stooges,
Fad Gadget,
Cybotron,
Joyce Sims,
The Remains,
Ultra Naté,
Malaria!,
Gastr Del Sol,
Deakin,
Dennis Brown,
The Doors,
The Fuzztones,
Can,
Easy Going,
Liaisons Dangereuses,
Ornette Coleman,
The Beau Brummels,
Pete Rock & C.L. Smooth,
Pantytec,
Frankie Knuckles,
Matthew Bourne,
Colin Newman,
the Swans,
The Black Dice,
Mars,
The Sound,
Accadde A,
Smog,
Marshall Jefferson,
Bobby Hutcherson,
Warsaw,
Robert Wyatt,
Moby Grape,
The J.B.'s,
Icehouse,
Quando Quango,
Absolute Body Control,
The Smoke,
Gang Gang Dance,
Art Ensemble Of Chicago,
Eric Dolphy,
Cymande,
Jesper Dahlbäck,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.