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 Gabon and from Bologna.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Johannesburg.
I'm losing my edge to the art-school Toronto 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 snare sounds with much patience.
I was there when Tom Verlaine 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 Avey Tare to the dance 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 Sixth Finger. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every L. Decosne 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 '90s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction 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?
The Blackbyrds,
Kool Moe Dee,
Alphaville,
Girls At Our Best!,
Massinfluence,
L. Decosne,
Man Eating Sloth,
Cheater Slicks,
Pulsallama,
the Human League,
Index,
Neu!,
Graham Central Station,
Hot Snakes,
The Slackers,
Newcleus,
John Lydon,
De La Soul & Jungle Brothers,
Nico,
Drexciya,
Metal Thangz,
Roy Ayers,
Jimmy McGriff,
Darondo,
Sticky Fingaz feat. Raekwon,
Siouxsie and the Banshees,
Art Ensemble Of Chicago,
LL Cool J,
Magma,
Das Ding,
Arthur Verocai,
ABBA,
Jacob Miller,
The Angels of Light,
The Searchers,
Crime,
KRS-One,
The Cowsills,
Animal Collective,
Saccharine Trust,
Yellowson,
Anthony Braxton,
Public Image Ltd.,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Moby Grape,
Bootsy Collins,
Terry Callier,
Fela Kuti,
The Men They Couldn't Hang,
Crispy Ambulance,
Alton Ellis,
Royal Trux,
The Happenings,
Alison Limerick,
Harpers Bizarre,
Altered Images,
Davy DMX,
Schoolly D,
Warsaw,
Liliput,
Slick Rick,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.