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 Andorra and from Lyon.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1970.
I'm losing my edge.
To all the kids in Toronto and Bologna.
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 808 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 Soul Sonic Force to the disco kids.
I played it at the Hacienda.
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 Eve St. Jones. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal electroclash 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 a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bush Tetras record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Pantytec,
Babytalk,
Letta Mbulu,
Jerry Gold Smith,
Nils Olav,
Scion,
Skarface,
World's Most,
Quando Quango,
New York Dolls,
the Association,
Don Cherry,
Pharoah Sanders,
Nik Kershaw,
Rowland S Howard / Lydia Lunch,
Maurizio,
The Gladiators,
48th St. Collective,
Kool G Rap & DJ Polo,
Juan Atkins,
Brick,
Girls At Our Best!,
Roy Ayers Ubiquity,
Index,
a-ha,
Public Enemy,
Lizzy Mercier Descloux,
Avey Tare & Kría Brekkan,
A Certain Ratio,
Echo & the Bunnymen,
Peter Gordon & Love of Life Orchestra,
Colin Newman,
Kurtis Blow,
Ronan,
Aural Exciters,
Kevin Saunderson,
Mad Mike,
OOIOO,
Yusef Lateef,
Black Moon,
Urselle,
June Days,
Boredoms,
Electric Light Orchestra,
Archie Shepp,
Larry & the Blue Notes,
Excepter,
Dawn Penn,
David Bowie,
Quantec,
Das Ding,
Chrome,
CMW,
Public Image Ltd.,
The Evens,
Infiniti,
Second Layer,
KRS-One,
Suburban Knight,
Soul II Soul,
B.T. Express,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.