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 Rwanda and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Bologna and Beijing.
I'm losing my edge to the art-school Seoul 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 chamberlin 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 Darondo to the disco kids.
I played it at the 40 Watt.
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 Lucky Dragons. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The Red Krayola,
Chrome,
Patti Smith,
Idris Muhammad,
The Busters,
Crooked Eye,
The Fire Engines,
Hashim,
The Vogues,
Black Sheep,
KRS-One,
Fort Wilson Riot,
Gang Green,
Iggy Pop,
Flipper,
Kauko Röyhkä ja Narttu,
Pere Ubu,
Marcia Griffiths,
Janne Schatter,
Bluetip,
Minnie Riperton,
Chris & Cosey,
The Slackers,
Hasil Adkins,
Carl Craig,
Big Daddy Kane,
The Names,
Little Man,
The Invisible,
Michelle Simonal,
Ultra Naté,
Bronski Beat,
Al Stewart,
Man Eating Sloth,
Nas,
Agitation Free,
Yazoo,
Grauzone,
Roxy Music,
Kool G Rap & DJ Polo,
Dorothy Ashby,
Johnny Clarke,
Q and Not U,
The Moleskins,
Scrapy,
Japan,
Audionom,
Drive Like Jehu,
Strawberry Alarm Clock,
Bootsy's Rubber Band,
Mars,
A Certain Ratio,
Ronnie Foster,
Tres Demented,
PIL,
Swans,
Marine Girls,
Eric Copeland,
The Dirtbombs,
Angels of Light & Akron/Family,
Sixth Finger,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.