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 Ghana and from Winnipeg.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 808 sounds with much patience.
I was there when Lou Reed 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 Avey Tare & Kría Brekkan to the dance 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 Television. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Q and Not U,
Ten City,
Junior Murvin,
Joe Finger,
Loose Ends,
Man Eating Sloth,
James Chance & The Contortions,
Sam Rivers,
The Beau Brummels,
Barclay James Harvest,
Pantaleimon,
Ajijia Myrayebe,
Camron Feat. Jay Z And Juelz,
Franke,
Gang Starr,
Gian Franco Pienzio,
Visionaries,LMNO, T- Love & Iriscience,
Theoretical Girls,
Mad Mike,
Drive Like Jehu,
The Shadows of Knight,
CMW,
DJ Sneak,
Circle Jerks,
New Order,
Colin Newman,
Bob Dylan,
Monolake,
De La Soul & Jungle Brothers,
Joey Negro,
Reuben Wilson,
The Kinks,
Sonic Youth,
The Smoke,
Joensuu 1685,
Brand Nubian,
Scratch Acid,
Model 500,
Ice-T,
Kayak,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rotary Connection,
Gil Scott Heron,
The Happenings,
The Litter,
Minnie Riperton,
Lalann,
Fatback Band,
Das Ding,
Jesper Dahlbäck,
A Certain Ratio,
Jacques Brel,
Stiv Bators,
Erykah Badu,
Dual Sessions,
Rekid,
Ken Boothe,
Royal Trux,
The Durutti Column,
The Victims,
The Selecter,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.