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 Russia and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Stockholm.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Byron Stingily to the techno kids.
I played it at the Astoria.
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 Henry Cow. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Bobby Womack record on German import.
I heard that you have a white label of every seminal techno 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Clear Light,
Terry Callier,
Lonnie Liston Smith,
Charles Mingus,
Simply Red,
Eric B and Rakim,
Major Organ And The Adding Machine,
the Slits,
Aloha Tigers,
Hashim,
Mad Mike,
Stetsasonic,
Kauko Röyhkä ja Narttu,
Television,
Soul II Soul,
F. McDonald,
Blancmange,
Carl Craig,
Sonny Sharrock,
Marvin Gaye,
Cabaret Voltaire,
Joy Division,
Peter Gordon & Love of Life Orchestra,
Hasil Adkins,
Black Bananas,
Underground Resistance,
Gerry Rafferty,
Sad Lovers and Giants,
Thompson Twins,
Saccharine Trust,
The Knickerbockers,
UT,
PIL,
The Doors,
Isaac Hayes,
Rowland S Howard / Lydia Lunch,
Whodini,
The Young Rascals,
Neil Young & Crazy Horse,
Jeff Mills,
Soft Machine,
Cameo,
Von Mondo,
Animal Collective,
a-ha,
Theoretical Girls,
Harmonia,
Bobby Byrd,
Massinfluence,
The Gories,
Little Man,
Wire,
Strawberry Alarm Clock,
Monks,
Bill Near,
Captain Beefheart & His Magic Band,
Banda Bassotti,
The Cure,
Arthur Verocai,
The Angels of Light,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.