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 United Kingdom and from Lagos.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Lagos 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Traffic Nightmare to the rap 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 Neil Young. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Tropical Tobacco,
Lonnie Liston Smith,
Pere Ubu,
Kool Moe Dee,
Soul Sonic Force,
Ajijia Myrayebe,
R.M.O.,
Skriet,
The Flesh Eaters,
Lower 48,
Siouxsie and the Banshees,
The Smoke,
Cybotron,
Radiopuhelimet,
Scion,
Sam Rivers,
Peter & Gordon,
Trumans Water,
OOIOO,
Godley & Creme,
Be Bop Deluxe,
Massinfluence,
Rosa Yemen,
Moby Grape,
Lee Hazlewood,
Pussy Galore,
Jerry's Kids,
Notorious Big And Bone Thugs,
The Slackers,
The Zeros,
Teenage Jesus and the Jerks,
It's A Beautiful Day,
EPMD,
Slick Rick,
Intrusion,
New Age Steppers,
Derrick May,
The Toasters,
Flash Fearless,
Lucky Dragons,
Joey Negro,
Michelle Simonal,
Bob Dylan,
Essential Logic,
Basic Channel,
Siglo XX,
Freddie Wadling,
Gil Scott Heron,
Alison Limerick,
Peter and Kerry,
Johnny Clarke,
X-101,
Radiohead,
Cheater Slicks,
A Flock of Seagulls,
T.S.O.L.,
Das Ding,
Yazoo,
Kaleidoscope,
Index,
Unrelated Segments,
Nation of Ulysses,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.