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 Israel and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1969 to 1973.
I'm losing my edge.
To all the kids in Halifax and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 marimba sounds with much patience.
I was there when David Bowie 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 Brick to the techno kids.
I played it at the Astoria.
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 Kayak. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Strawberry Alarm Clock,
Gil Scott Heron,
Can,
Babytalk,
Minor Threat,
Banda Bassotti,
the Human League,
Minny Pops,
Slick Rick,
E-Dancer,
The Skatalites,
Lightning Bolt,
Pylon,
Camouflage,
One Last Wish,
Intrusion,
Jandek,
Suicide,
Wighnomy Brothers & Robag Wruhme,
The Men They Couldn't Hang,
Tom Boy,
Zapp,
T. Rex,
David McCallum,
Bill Near,
Magazine,
The Monks,
Suburban Knight,
Infiniti,
MC5,
Deakin,
The Shadows of Knight,
Bronski Beat,
Section 25,
The Red Krayola,
L. Decosne,
Oneida,
The Offenders,
Ohio Players,
Mad Mike,
Motorama,
Index,
DJ Style,
Dennis Brown,
Manfred Mann's Earth Band,
Grauzone,
Todd Rundgren,
The United States of America,
The Fortunes,
Heavy D & The Boyz,
K-Klass,
Hashim,
Japan,
Cluster,
Jawbox,
The Pop Group,
Supertramp,
Kevin Saunderson,
Yusef Lateef,
Goldenarms,
Accadde A,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.