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 Zambia and from Delhi.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Cairo 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 oboe 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 The Star Department to the punk kids.
I played it at the Astoria.
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 Ossler. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Peter & Gordon 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Flamin' Groovies,
Suburban Knight,
Bobby Womack,
Brass Construction,
Avey Tare & Kría Brekkan,
Silicon Teens,
Shuggie Otis,
The Cramps,
Ultravox,
Ten City,
Godley & Creme,
Arthur Verocai,
Wire,
Goldenarms,
Byron Stingily,
Rakim,
Peter Gordon & Love of Life Orchestra,
Bizarre Inc.,
Young Marble Giants,
The Moleskins,
Tomorrow,
Electric Prunes,
The Zeros,
Public Enemy,
Q65,
The Knickerbockers,
Spoonie Gee,
Johnny Clarke,
Buzzcocks,
X-102,
The Monks,
Magazine,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Scan 7,
Mandrill,
Oblivians,
kango's stein massive,
Gil Scott Heron,
Rowland S Howard / Lydia Lunch,
The Remains,
Soft Machine,
Monks,
the Sonics,
The American Breed,
Tim Buckley,
The Saints,
Major Organ And The Adding Machine,
Franke,
Desert Stars,
Amazonics,
Aswad,
Pete Rock & C.L. Smooth,
Black Pus,
Ajijia Myrayebe,
Flash Fearless,
Andrew Hill,
The Shadows of Knight,
Brand Nubian,
Camron Feat. Memphis Bleek And Beenie Seigel,
Terrestrial Tones,
Pole,
The Searchers,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.