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 Belize and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Lyon 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 marimba 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 Deadbeat to the techno 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 Lou Reed & Metallica. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Talk Talk,
Franke,
A Flock of Seagulls,
Sixth Finger,
Mars,
Eden Ahbez,
John Holt,
The Five Americans,
Derrick Morgan,
Grandmaster Flash,
Camouflage,
Faraquet,
Gabor Szabo,
Bluetip,
Harpers Bizarre,
AZ,
Ossler,
Donny Hathaway,
The Gladiators,
Nico,
The Detroit Cobras,
Metal Thangz,
Crash Course in Science,
Bill Near,
The Angels of Light,
Andrew Hill,
The Buckinghams,
Eurythmics,
Cal Tjader,
Larry & the Blue Notes,
Rahsaan Roland Kirk,
The Alarm Clocks,
Deepchord,
June Days,
Terrestrial Tones,
Red Lorry Yellow Lorry,
Jeff Mills,
Severed Heads,
The Black Dice,
The Offenders,
Duran Duran,
The Stooges,
CMW,
The Toasters,
Bobbi Humphrey,
Panda Bear,
Whodini,
Avey Tare,
Josef K,
Clear Light,
The Happenings,
The Young Rascals,
Skaos,
Aloha Tigers,
The Wake,
MC5,
Essential Logic,
Siglo XX,
UT,
Negative Approach,
Surgeon,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.