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 Brunei and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Jakarta.
I'm losing my edge to the art-school Houston 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 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 Popol Vuh to the grime kids.
I played it at the Spitz.
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 Remains. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz 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 '80s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
DNA,
The Wake,
Intrusion,
Siglo XX,
The Tremeloes,
Tres Demented,
Sun Ra,
Beasts of Bourbon,
Liaisons Dangereuses,
Kevin Saunderson,
Manfred Mann's Earth Band,
Rhythim Is Rhythim,
The Motions,
Fluxion,
Bootsy Collins,
Ituana,
Harmonia,
Ultravox,
H. Thieme,
Nils Olav,
Sister Nancy,
Mission of Burma,
Nirvana,
Brand Nubian,
Louis and Bebe Barron,
Dr. Dre and Snoop Doggy Dog,
The Pop Group,
The Red Krayola,
Lalann,
Aural Exciters,
The Skatalites,
Kango’s Stein Massive,
Nik Kershaw,
The Moody Blues,
Reuben Wilson,
Al Stewart,
Zapp,
Ludus,
Excepter,
Swans,
the Association,
La Düsseldorf,
Sound Behaviour,
Piero Umiliani,
The Associates,
Pantytec,
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare's Slasher Flicks,
Electric Light Orchestra,
Bill Near,
Niagra,
The Jesus and Mary Chain,
Negative Approach,
KRS-One,
Drexciya,
Scott Walker + Sunn O))),
London Community Gospel Choir,
Lyres,
The Detroit Cobras,
Moss Icon,
Audionom,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.