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 Honduras and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Halifax 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 Nile Rodgers 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 Idris Muhammad 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 The Black Dice. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Jesper Dahlbäck record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Rahsaan Roland Kirk,
Eyeless In Gaza,
ABC,
Warsaw,
James Chance & The Contortions,
One Last Wish,
Marmalade,
The Smoke,
Arthur Verocai,
Wolf Eyes,
The Angels of Light,
Crash Course in Science,
Joe Finger,
Nas,
Loose Ends,
Fad Gadget,
Cheater Slicks,
Todd Rundgren,
Icehouse,
Sun Ra,
Deutsch Amerikanische Freundschaft,
Harmonia,
Matthew Halsall,
Rhythim Is Rhythim,
Interpol,
Letta Mbulu,
Magazine,
Lou Reed & Metallica,
Bauhaus,
The American Breed,
Rhythm & Sound,
The Birthday Party,
Magma,
Camouflage,
Sugar Minott,
Deakin,
Al Stewart,
Larry & the Blue Notes,
Roxette,
Matthew Bourne,
CMW,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Residents,
Ultravox,
Porter Ricks,
Surgeon,
Soft Cell,
Harry Pussy,
Zapp,
Fort Wilson Riot,
Minny Pops,
The Evens,
Ultimate Spinach,
Unwound,
Sly & The Family Stone,
Brand Nubian,
Neu!,
Groovy Waters,
Juan Atkins,
Tubeway Army,
The Blackbyrds,
The Mighty Diamonds,
Subhumans,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.