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 Andorra and from Mumbai.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Calgary and Lille.
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 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 Lafayette Afro Rock Band to the jazz kids.
I played it at the Roxy.
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 Zapp. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Dark Day,
New Order,
Wasted Youth,
Wire,
Spandau Ballet,
The Star Department,
The Monks,
Alison Limerick,
the Association,
Gang Green,
Jeff Mills,
Radiopuhelimet,
Radio Birdman,
Soft Machine,
Pharaoh Sanders and the Fire Engines,
Archie Shepp,
Avey Tare & Kría Brekkan,
Harmonia,
Ludus,
Sexual Harrassment,
Eve St. Jones,
Eric Copeland,
Accadde A,
Marine Girls,
Scott Walker,
The Mummies,
The West Coast Pop Art Experimental Band,
Ten City,
Warsaw,
Swell Maps,
Louis and Bebe Barron,
Letta Mbulu,
Ponytail,
Thinking Fellers Union Local 282,
Hoover,
The Tremeloes,
Thee Headcoats,
Mandrill,
Yusef Lateef,
The Electric Prunes,
Anthony Braxton,
Traffic Nightmare,
Dead Boys,
Monks,
Siouxsie and the Banshees,
Hardrive,
Buzzcocks,
The Dead C,
Maleditus Sound,
Junior Murvin,
the Fania All-Stars,
Teenage Jesus and the Jerks,
Michelle Simonal,
Gang Gang Dance,
The Dave Clark Five,
John Cale,
Dorothy Ashby,
The Moleskins,
U.S. Maple,
Nation of Ulysses,
Bluetip,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.