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 Greece and from Salvador.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school New York 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb 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 Skriet to the rap kids.
I played it at the Spitz.
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 Lakeside. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Sällskapet,
The Dirtbombs,
Erasure,
The Fortunes,
Brass Construction,
Lee Hazlewood,
Shoche,
X-Ray Spex,
Bush Tetras,
Lower 48,
Althea and Donna,
Bang on a Can All-Stars,
OOIOO,
Maurizio,
John Lydon,
Goldenarms,
K-Klass,
The Cure,
The Neon Judgement,
Harmonia,
Q65,
June of 44,
Kauko Röyhkä ja Narttu,
The Zeros,
Don Cherry,
Yusef Lateef,
Ponytail,
Minutemen,
Ken Boothe,
The Men They Couldn't Hang,
Interpol,
Idris Muhammad,
ABC,
Harry Pussy,
Kevin Saunderson,
Technova,
48th St. Collective,
Red Lorry Yellow Lorry,
Can,
Bauhaus,
Jerry Gold Smith,
Scan 7,
Symarip,
Joe Finger,
Rekid,
Eric B and Rakim,
X-101,
Chrome,
Angry Samoans,
Lafayette Afro Rock Band,
Bill Wells,
Alison Limerick,
Radiopuhelimet,
Strawberry Alarm Clock,
The Fuzztones,
Tomorrow,
The Gap Band,
Joyce Sims,
Suicide,
UT,
The Human League,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.