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 Turkey and from Seoul.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Calgary 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 Todd Terry to the techno kids.
I played it at the Crocodile.
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 Hoover. All the underground hits.
All Kango’s Stein Massive tracks. I heard you have a vinyl of every Jesper Dahlbäck 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Soft Machine,
Fort Wilson Riot,
Ash Ra Tempel,
the Slits,
Louis and Bebe Barron,
Massinfluence,
Gil Scott Heron,
Bill Wells,
Bauhaus,
Be Bop Deluxe,
Dark Day,
Althea and Donna,
Cabaret Voltaire,
Bang on a Can All-Stars,
The Chocolate Watch Band,
Robert Görl,
Barry Ungar,
Kurtis Blow,
Super Lover Cee & Casanova Rud,
Cymande,
Crispian St. Peters,
Japan,
The Sound,
Sarah Menescal,
The J.B.'s,
X-102,
D'Angelo,
Teenage Jesus and the Jerks,
Rakim,
The Modern Lovers,
Sparks,
Bob Dylan,
Pierre Henry,
Roxy Music,
Sight & Sound,
The Birthday Party,
Monks,
Surgeon,
Wighnomy Brothers & Robag Wruhme,
Minutemen,
Girls At Our Best!,
Electric Prunes,
The Toasters,
Angry Samoans,
Roger Hodgson,
CMW,
Scott Walker,
Judy Mowatt,
H. Thieme,
Tropical Tobacco,
The Index,
Eric Copeland,
Fela Kuti,
KRS-One,
Terrestrial Tones,
Pantytec,
Wire,
Outsiders,
Whodini,
Jimmy McGriff,
Grandmaster Flash,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.