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 Paraguay and from Stockholm.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Manila and Beijing.
I'm losing my edge to the art-school Toronto 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 Popol Vuh to the punk kids.
I played it at the Roxy.
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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Mark Hollis,
Teenage Jesus and the Jerks,
Slick Rick,
Stockholm Monsters,
K-Klass,
Qualms,
Letta Mbulu,
Glambeats Corp.,
CMW,
Lucky Dragons,
The Cowsills,
Bill Wells,
DJ Sneak,
Model 500,
Pantytec,
the Normal,
Roy Ayers,
Barbara Tucker,
Erykah Badu,
Symarip,
The New Christs,
Brass Construction,
The Birthday Party,
Brothers Johnson,
Colin Newman,
Ultravox,
Danielle Patucci,
The Techniques,
Magma,
The Monks,
Aloha Tigers,
Jawbox,
Manfred Mann's Earth Band,
The Mighty Diamonds,
Crispy Ambulance,
Amon Düül,
The United States of America,
Icehouse,
New Age Steppers,
Hoover,
Marmalade,
Das Ding,
Oneida,
Delon & Dalcan,
The Toasters,
The Moleskins,
Kango’s Stein Massive,
Boz Scaggs,
Davy DMX,
Tears for Fears,
Matthew Halsall,
Con Funk Shun,
Lou Reed,
Skaos,
Ohio Players,
The Associates,
Cabaret Voltaire,
Chrome,
Derrick May,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.