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 Kiribati and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Lagos and Calgary.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the arpeggiator 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 Maleditus Sound to the techno 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 Scott Walker + Sunn O))). All the underground hits.
All Quantec tracks. I heard you have a vinyl of every Eric B and Rakim 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 '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pete Rock & C.L. Smooth,
Slick Rick,
The Young Rascals,
Icehouse,
Erasure,
The Detroit Cobras,
Angels of Light & Akron/Family,
Pharaoh Sanders and the Fire Engines,
This Heat,
Scientists,
Severed Heads,
James Chance & The Contortions,
the Slits,
Warren Ellis,
The Cowsills,
The Happenings,
Mo-Dettes,
KRS-One,
Japan,
Joensuu 1685,
Jeru the Damaja,
The Monks,
Marcia Griffiths,
Section 25,
Bluetip,
Roy Ayers Ubiquity,
Ultra Naté,
Curtis Mayfield,
The Slits,
The Associates,
Suburban Knight,
The Gun Club,
Wolf Eyes,
Public Image Ltd.,
The Divine Comedy,
James White and The Blacks,
Can,
Funkadelic,
The Move,
Gil Scott-Heron & Brian Jackson,
Goldenarms,
Black Pus,
Colin Newman,
Nas,
Minny Pops,
Eddi Front,
Guru Guru,
Alphaville,
Kaleidoscope,
The Sisters of Mercy,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
L. Decosne,
Sex Pistols,
The Velvet Underground,
Lou Reed & Metallica,
Dorothy Ashby,
John Lydon,
Visage,
Girls At Our Best!,
Darondo,
Derrick May,
the Normal,
The Kinks, The Kinks, The Kinks, The Kinks.
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.