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 Norway and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Portland and Seoul.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Rhythm & Sound to the grime kids.
I played it at CBGB's.
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 Susan Cadogan. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Moebius 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a rhodes 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 marimba and bought a güiro.
I hear that you and your band have sold your güiro and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Chris & Cosey,
Darondo,
Jawbox,
Don Cherry,
Sonny Sharrock,
The United States of America,
Pantaleimon,
Red Lorry Yellow Lorry,
Judy Mowatt,
The Human League,
John Coltrane,
Gil Scott Heron,
Heaven 17,
Pere Ubu,
the Normal,
London Community Gospel Choir,
The Kinks,
Sunsets and Hearts,
the Bar-Kays,
Lalann,
Eric B and Rakim,
Mark Hollis,
Soulsonic Force,
Kas Product,
Pylon,
World's Most,
Anthony Braxton,
X-101,
Andrew Ashong & Theo Parrish,
Severed Heads,
Big Daddy Kane,
The Slackers,
Trumans Water,
Terrestrial Tones,
Roger Hodgson,
Mr. Review,
The Neon Judgement,
Circle Jerks,
CMW,
The Standells,
Quantec,
Monolake,
Vaughan Mason & Crew,
Lindisfarne,
Reuben Wilson,
Deutsch Amerikanische Freundschaft,
Simply Red,
Crispy Ambulance,
F. McDonald,
Absolute Body Control,
Dorothy Ashby,
Organ,
Ituana,
Echospace,
Rufus Thomas,
Mad Mike,
Barclay James Harvest,
The Skatalites,
Camouflage,
The Last Poets,
Oblivians,
Alphaville,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.