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 Vanuatu and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Man Eating Sloth to the rap kids.
I played it at the 40 Watt.
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 Trumans Water. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal jazz 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 a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Pere Ubu,
Teenage Jesus and the Jerks,
Ten City,
Magazine,
Camron Feat. Jay Z And Juelz,
The Dirtbombs,
Slave,
Faraquet,
Kool G Rap & DJ Polo,
JFA,
David McCallum,
Sixth Finger,
Suicide,
Infiniti,
Throbbing Gristle,
It's A Beautiful Day,
Yellowson,
Max Romeo,
Jandek,
Dorothy Ashby,
The Fugs,
Cabaret Voltaire,
Marmalade,
Amon Düül II,
Gregory Isaacs,
ABC,
Sly & The Family Stone,
Dave Gahan,
Gerry Rafferty,
June Days,
Jacob Miller,
The Gories,
Little Man,
Al Stewart,
Crooked Eye,
Harry Pussy,
Laurel Aitken,
Ken Boothe,
Nick Cave & The Bad Seeds,
The Last Poets,
Mary Jane Girls,
Derrick May,
Chris & Cosey,
Stetsasonic,
Notorious Big And Bone Thugs,
Aloha Tigers,
Be Bop Deluxe,
Davy DMX,
Donald Byrd,
Barry Ungar,
Fatback Band,
Scion,
The Seeds,
Gil Scott Heron,
La Düsseldorf,
Mr. Review,
Q and Not U,
Rapeman,
DeepChord presents Echospace,
June of 44, June of 44, June of 44, June of 44.
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.