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 Ukraine and from Houston.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 Philadelphia.
I'm losing my edge to the art-school Manila 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 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 Brick to the disco 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 Country Teasers. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal rock 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 organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
The Standells,
Faraquet,
Throbbing Gristle,
The Five Americans,
Terror Squad Feat. Camron,
X-Ray Spex,
Rod Modell,
Porter Ricks,
Pharaoh Sanders and the Fire Engines,
Arcadia,
Ken Boothe,
Janne Schatter,
Q and Not U,
T. Rex,
The Associates,
CMW,
The Wake,
the Association,
Severed Heads,
U.S. Maple,
Ice-T,
Groovy Waters,
Gang Gang Dance,
Marcia Griffiths,
FM Einheit,
The Alarm Clocks,
The Fortunes,
Bobby Hutcherson,
Crispy Ambulance,
Camron Feat. Memphis Bleek And Beenie Seigel,
Trumans Water,
China Crisis,
Lakeside,
Dr. Dre and Snoop Doggy Dog,
The Pretty Things,
Echospace,
Stockholm Monsters,
Jesper Dahlback,
Dark Day,
The Shadows of Knight,
Yellowson,
the Fania All-Stars,
Drive Like Jehu,
Magazine,
Super Lover Cee & Casanova Rud,
Notorious BIG live in Amsterdam,
The Litter,
Mary Jane Girls,
Rekid,
John Lydon,
John Holt,
Gil Scott-Heron & Brian Jackson,
Rufus Thomas,
Lonnie Liston Smith,
Soulsonic Force,
James Chance & The Contortions,
Jawbox,
Rites of Spring,
Lebanon Hanover,
Stereo Dub,
Sam Rivers,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.