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 Venezuela and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Calgary and Johannesburg.
I'm losing my edge to the art-school Salvador 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 808 sounds with much patience.
I was there when Donald Fagen 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 Reuben Wilson to the rock kids.
I played it at Trash.
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 Men They Couldn't Hang. All the underground hits.
All DJ Style 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 electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Organ,
Country Joe & The Fish,
Negative Approach,
Bootsy's Rubber Band,
the Bar-Kays,
Jeff Lynne,
Zapp,
Das Ding,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
8 Eyed Spy,
Marmalade,
Young Marble Giants,
Visionaries,LMNO, T- Love & Iriscience,
Index,
The Invisible,
Danielle Patucci,
The Busters,
Hardrive,
Jeff Mills,
Cabaret Voltaire,
Joe Finger,
Connie Case,
Brand Nubian,
Theoretical Girls,
Idris Muhammad,
Supertramp,
Ohio Players,
Arcadia,
Glambeats Corp.,
Henry Cow,
Bluetip,
Audionom,
Visage,
The Walker Brothers,
Lyres,
Eurythmics,
Magazine,
The Pop Group,
Skriet,
Amon Düül II,
Kerrie Biddell,
Davy DMX,
Kaleidoscope,
the Fania All-Stars,
The Chocolate Watch Band,
Black Flag,
Unrelated Segments,
Johnny Clarke,
X-Ray Spex,
The Doors,
Deakin,
Rekid,
Adolescents,
June of 44,
Fad Gadget,
Yazoo,
Colin Newman,
De La Soul & Jungle Brothers,
The Techniques,
Grauzone, Grauzone, Grauzone, Grauzone.
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.