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 Gambia and from Philadelphia.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Seoul and Columbus.
I'm losing my edge to the art-school Manila 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 1973 at the first Television practice in a loft in New York.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Ornette Coleman to the techno 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 Neil Young. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Absolute Body Control,
Ossler,
F. McDonald,
Jandek,
Lower 48,
Ken Boothe,
These Immortal Souls,
Kurtis Blow,
Sex Pistols,
Toni Rubio,
New York Dolls,
Lyres,
Saccharine Trust,
48th St. Collective,
Mo-Dettes,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Sonics,
La Düsseldorf,
Eddi Front,
The Real Kids,
FM Einheit,
Gregory Isaacs,
The Move,
Roy Ayers,
Larry & the Blue Notes,
Josef K,
Nation of Ulysses,
Mary Jane Girls,
Model 500,
The Modern Lovers,
Gong,
John Cale,
Whodini,
Electric Prunes,
Joensuu 1685,
Los Fastidios,
Scratch Acid,
Cameo,
Crispy Ambulance,
New Order,
Harmonia,
Tim Buckley,
Cabaret Voltaire,
Warren Ellis,
Procol Harum,
Flipper,
Derrick May,
MC5,
The Shadows of Knight,
Kauko Röyhkä ja Narttu,
Fifty Foot Hose,
Alton Ellis,
Tears for Fears,
Vaughan Mason & Crew,
The Seeds,
Faraquet,
Bobbi Humphrey,
Radiohead,
Minutemen,
Spandau Ballet,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.