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 Cambodia and from Accra.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Holger Czukay 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 Dual Sessions to the electroclash 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 Lebanon Hanover. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Banda Bassotti,
Isaac Hayes,
The Fire Engines,
Byron Stingily,
Wolf Eyes,
The Star Department,
Ken Boothe,
The Durutti Column,
Electric Prunes,
Grandmaster Flash and the Furious Five,
Faust,
Vladislav Delay,
Vainqueur,
Tim Buckley,
Barclay James Harvest,
Spoonie Gee,
The Remains,
Kurtis Blow,
Trumans Water,
Morten Harket,
Amazonics,
Mo-Dettes,
Gil Scott-Heron & Brian Jackson,
Country Teasers,
Ash Ra Tempel,
The Shadows of Knight,
Excepter,
Kevin Saunderson,
Warren Ellis,
Niagra,
Metal Thangz,
The United States of America,
Lower 48,
Andrew Ashong & Theo Parrish,
Kool G Rap & DJ Polo,
Easy Going,
Bobby Sherman,
Danielle Patucci,
Minny Pops,
Cal Tjader,
Nik Kershaw,
The Motions,
Nick Fraelich,
Lakeside,
Crispian St. Peters,
Soul Sonic Force,
Brass Construction,
Deepchord,
The Skatalites,
Pharoah Sanders,
Bobby Hutcherson,
FM Einheit,
the Swans,
John Lydon,
Heavy D & The Boyz,
AZ,
The Slits,
The Divine Comedy,
Mark Hollis,
Sällskapet,
The Selecter,
Unrelated Segments,
World's Most, World's Most, World's Most, World's Most.
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.