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 Argentina and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Eric Dolphy to the funk kids.
I played it at the Crocodile.
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 Minny Pops. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Avey Tare & Kría Brekkan,
Ronan,
Lakeside,
Ultravox,
Marc Romboy vs. Booka Shade,
The Saints,
Quadrant,
Bill Near,
Skarface,
Arthur Verocai,
Yazoo,
Tom Boy,
Alton Ellis,
the Bar-Kays,
Dark Day,
Toni Rubio,
Severed Heads,
New Age Steppers,
Siouxsie and the Banshees,
Gerry Rafferty,
E-Dancer,
Subhumans,
A Flock of Seagulls,
Barclay James Harvest,
Radiohead,
Flash Fearless,
The Five Americans,
Dr. Dre and Snoop Doggy Dog,
Joyce Sims,
Deakin,
The Modern Lovers,
Ultramagnetic MC's,
Fugazi,
Cluster,
The Angels of Light,
Inner City,
Traffic Nightmare,
Sarah Menescal,
Country Joe & The Fish,
Popol Vuh,
The Real Kids,
Donny Hathaway,
Tubeway Army,
Kevin Saunderson,
Rhythim Is Rhythim,
Jandek,
Soulsonic Force,
Orchestral Manoeuvres in the Dark,
Rhythm & Sound,
Thee Headcoats,
Con Funk Shun,
Hasil Adkins,
Al Stewart,
Metal Thangz,
Pere Ubu,
Joy Division,
X-102,
Crispian St. Peters,
John Lydon,
Mad Mike,
T. Rex,
Country Teasers,
Minutemen, Minutemen, Minutemen, Minutemen.
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.