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 Fiji and from Jakarta.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Philadelphia 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 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 Ponytail to the grime kids.
I played it at the Hacienda.
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 Warren Ellis. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Sister Nancy 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Albert Ayler,
The Martian,
Gichy Dan,
Tom Boy,
Little Man,
The Wake,
Throbbing Gristle,
Rhythm & Sound,
Man Eating Sloth,
Lou Reed & Metallica,
The Leaves,
Bobby Womack,
Archie Shepp,
London Community Gospel Choir,
Darondo,
Ponytail,
K-Klass,
Heaven 17,
JFA,
Spandau Ballet,
The Walker Brothers,
The Move,
Junior Murvin,
Lindisfarne,
U.S. Maple,
KRS-One,
Sight & Sound,
Sun Ra Arkestra,
The Blackbyrds,
Monolake,
James Chance & The Contortions,
Index,
Shuggie Otis,
The Skatalites,
Chrome,
Hot Snakes,
Eli Mardock,
Quadrant,
Jerry Gold Smith,
D'Angelo,
Terrestrial Tones,
Barbara Tucker,
Sparks,
Jacob Miller,
the Germs,
Dave Gahan,
Talk Talk,
Teenage Jesus and the Jerks,
Jesper Dahlback,
Lalann,
Lyres,
Nick Fraelich,
Cluster,
Organ,
EPMD,
Charles Mingus,
The Fall,
Ultimate Spinach,
ABC,
Traffic Nightmare,
Essential Logic,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.