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 Comoros and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1961 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
I'm losing my edge to the art-school Lille 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord 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 Unrelated Segments 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 Dawn Penn. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magazine,
Derrick May,
Fugazi,
Radiopuhelimet,
Sight & Sound,
Crispian St. Peters,
Roxy Music,
Marcia Griffiths,
Panda Bear,
Sam Rivers,
Amazonics,
Terry Callier,
Orchestral Manoeuvres in the Dark,
Byron Stingily,
The Kinks,
Ken Boothe,
Gary Puckett & The Union Gap,
Marvin Gaye,
The Remains,
The Durutti Column,
Oneida,
T. Rex,
The Gladiators,
Ultravox,
Absolute Body Control,
The Doors,
Slave,
It's A Beautiful Day,
Art Ensemble Of Chicago,
Warsaw,
cv313,
Rhythm & Sound,
Sarah Menescal,
Thinking Fellers Union Local 282,
Flash Fearless,
La Düsseldorf,
Bobby Byrd,
Stockholm Monsters,
Big Daddy Kane,
The Count Five,
MC5,
Neil Young & Crazy Horse,
Circle Jerks,
Thompson Twins,
Cabaret Voltaire,
Gang Gang Dance,
The Index,
Cybotron,
Pantaleimon,
Scan 7,
Bobbi Humphrey,
One Last Wish,
The Vogues,
Ponytail,
Blossom Toes,
Section 25,
Deutsch Amerikanische Freundschaft,
the Fania All-Stars,
The Star Department,
Anthony Braxton,
Boredoms, Boredoms, Boredoms, Boredoms.
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.