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 Iraq and from Winnipeg.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Calgary and Copenhagen.
I'm losing my edge to the art-school Manchester 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Eric B and Rakim to the grunge 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 Harpers Bizarre. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Warren Ellis 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sonny Sharrock record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warsaw,
Todd Terry,
Bauhaus,
Harry Pussy,
Glenn Branca,
Technova,
Symarip,
Sight & Sound,
Ultramagnetic MC's,
L. Decosne,
Deadbeat,
Ajijia Myrayebe,
Dawn Penn,
The Electric Prunes,
Pulsallama,
the Soft Cell,
Max Romeo,
The Divine Comedy,
Toni Rubio,
Visage,
The Saints,
Oppenheimer Analysis,
Nation of Ulysses,
Sun Ra,
The Selecter,
Louis and Bebe Barron,
Y Pants,
Swans,
Basic Channel,
Joy Division,
Warren Ellis,
Avey Tare,
Subhumans,
Eric Dolphy,
Public Image Ltd.,
Amon Düül,
Bill Wells,
Terry Callier,
X-102,
Surgeon,
B.T. Express,
Japan,
These Immortal Souls,
Graham Central Station,
Bobby Sherman,
Unrelated Segments,
Masters at Work,
Flash Fearless,
Godley & Creme,
Aural Exciters,
Yaz,
Pierre Henry,
Jerry Gold Smith,
8 Eyed Spy,
Lyres,
Bizarre Inc.,
Babytalk,
Model 500,
Slick Rick,
The Index, The Index, The Index, The Index.
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.