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 Solomon Islands and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Lyon 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Sticky Fingaz feat. Raekwon to the jazz kids.
I played it at the 40 Watt.
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 Blake Baxter. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Cybotron,
Livin' Joy,
Kool Moe Dee,
Sister Nancy,
Lungfish,
Maleditus Sound,
Moby Grape,
Gong,
Ludus,
X-102,
The West Coast Pop Art Experimental Band,
The Residents,
Janne Schatter,
Accadde A,
The Fire Engines,
Radiopuhelimet,
This Heat,
Gang Green,
Radiohead,
Ponytail,
Fear,
Ohio Players,
The Fuzztones,
Colin Newman,
The Stooges,
a-ha,
Niagra,
Deepchord,
Scan 7,
Lakeside,
the Human League,
Bad Manners,
Technova,
Simply Red,
Ten City,
Lou Christie,
Country Joe & The Fish,
Qualms,
Minnie Riperton,
Bobby Womack,
Black Flag,
FM Einheit,
The Motions,
Ash Ra Tempel,
Pere Ubu,
The Doors,
Nation of Ulysses,
The Standells,
The United States of America,
The Mojo Men,
Fela Kuti,
Graham Central Station,
Cameo,
Smog,
Sly & The Family Stone,
Angry Samoans,
New Age Steppers,
Public Image Ltd.,
Circle Jerks,
John Foxx,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.