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 Morocco and from Woodstock.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Tokyo 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Dead C to the jazz kids.
I played it at the Crocodile.
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 In Retrospect. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every X-102 record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Anthony Braxton,
The Walker Brothers,
Donald Byrd,
Symarip,
The Chocolate Watch Band,
Toni Rubio,
the Normal,
The Music Machine,
Adolescents,
Desert Stars,
Dave Gahan,
The American Breed,
the Sonics,
the Slits,
The Residents,
Gian Franco Pienzio,
Chrome,
Ultravox,
Fugazi,
Unrelated Segments,
Nation of Ulysses,
The Litter,
The Sound,
Visionaries,LMNO, T- Love & Iriscience,
Theoretical Girls,
The Cramps,
Kevin Saunderson,
Rakim,
Kool G Rap & DJ Polo,
Icehouse,
Ash Ra Tempel,
DNA,
FM Einheit,
Delon & Dalcan,
Sight & Sound,
The Names,
Spoonie Gee,
Justin Hinds & The Dominoes,
Howard Jones,
Zero Boys,
The Techniques,
The Men They Couldn't Hang,
Gang Green,
Deakin,
The Birthday Party,
Albert Ayler,
The Trojans,
The Victims,
The Human League,
Siglo XX,
Agitation Free,
Schoolly D,
Public Enemy,
Shuggie Otis,
Pylon,
Eve St. Jones,
Negative Approach,
Barclay James Harvest,
Liliput,
Magma,
Peter and Kerry,
Pussy Galore,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.