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 Tunisia and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1970.
I'm losing my edge.
To all the kids in Hong Kong and Winnipeg.
I'm losing my edge to the art-school Madrid 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald 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 Pharoah Sanders to the punk 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 B.T. Express. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Sugar Minott 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 '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Erasure,
The Mummies,
Bill Wells,
Sparks,
Japan,
John Lydon,
Nas,
Icehouse,
Loose Ends,
Sällskapet,
Gang Green,
Fat Boys,
Lindisfarne,
Blake Baxter,
Public Image Ltd.,
The Walker Brothers,
Deutsch Amerikanische Freundschaft,
Cal Tjader,
Reuben Wilson,
Audionom,
Janne Schatter,
Altered Images,
Bang On A Can,
Lou Christie,
The Men They Couldn't Hang,
Joey Negro,
Peter & Gordon,
Glenn Branca,
Marine Girls,
Vaughan Mason & Crew,
Oppenheimer Analysis,
Boogie Down Productions,
Nils Olav,
Bill Near,
The Offenders,
Lonnie Liston Smith,
The Fugs,
In Retrospect,
Ash Ra Tempel,
Gabor Szabo,
Sad Lovers and Giants,
The Pretty Things,
K-Klass,
New Age Steppers,
Bang on a Can All-Stars,
AZ,
David Axelrod,
Black Bananas,
The Index,
Banda Bassotti,
Hasil Adkins,
Kerrie Biddell,
Moby Grape,
L. Decosne,
New Order,
Thompson Twins,
The Sisters of Mercy,
Letta Mbulu,
Marvin Gaye,
Skriet,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.