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 Moldova and from Milan.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Jakarta 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 The Black Dice to the techno kids.
I played it at Cafe Wha.
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 Panda Bear. All the underground hits.
All The Peanut Butter Conspiracy tracks. I heard you have a vinyl of every Heaven 17 record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 Con Funk Shun record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Public Image Ltd.,
Ossler,
Minor Threat,
The Mojo Men,
Can,
Bobby Hutcherson,
Clear Light,
Unrelated Segments,
Bad Manners,
Black Sheep,
Terror Squad Feat. Camron,
Wally Richardson,
Crime,
Gang Gang Dance,
Janne Schatter,
Sexual Harrassment,
Gong,
Stiv Bators,
Fear,
Archie Shepp,
Babytalk,
Peter Gordon & Love of Life Orchestra,
Warren Ellis,
Stereo Dub,
Theoretical Girls,
The Slits,
Bobby Sherman,
Gastr Del Sol,
Pole,
Accadde A,
Rhythm & Sound,
Chris Corsano,
The Star Department,
Magazine,
The Pop Group,
Brick,
Scrapy,
Aloha Tigers,
Man Parrish,
Eyeless In Gaza,
Matthew Bourne,
Siouxsie and the Banshees,
The United States of America,
Ultra Naté,
Lindisfarne,
Infiniti,
The Techniques,
Intrusion,
Television Personalities,
Camouflage,
The Zeros,
Sad Lovers and Giants,
Ultramagnetic MC's,
The Invisible,
Cal Tjader,
The Fortunes,
The Men They Couldn't Hang,
Arab on Radar,
Soul II Soul,
Symarip,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.