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 Spain and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Columbus 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 spring reverb 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 Radio Birdman to the rock 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 Index. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every Jawbox 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Sexual Harrassment,
Joe Smooth,
The Gun Club,
Minnie Riperton,
the Swans,
Fela Kuti,
Soft Cell,
The Names,
Derrick Morgan,
Average White Band,
Sex Pistols,
Bauhaus,
Fear,
Michelle Simonal,
Amazonics,
Thinking Fellers Union Local 282,
The Beau Brummels,
Guru Guru,
The Human League,
The Alarm Clocks,
Audionom,
These Immortal Souls,
Khruangbin,
Lou Reed & Metallica,
Leonard Cohen,
Tommy Roe,
ABBA,
Lower 48,
Von Mondo,
Stockholm Monsters,
Oneida,
Gang Gang Dance,
Louis and Bebe Barron,
Mary Jane Girls,
Johnny Clarke,
Thee Headcoats,
Aaron Thompson,
New Order,
Gregory Isaacs,
The Velvet Underground,
Gichy Dan,
Ralphi Rosario,
Crooked Eye,
Swell Maps,
Kerri Chandler,
Eyeless In Gaza,
Boogie Down Productions,
Das Ding,
Ohio Players,
The Chocolate Watch Band,
Fugazi,
Rhythm & Sound,
Oblivians,
PIL,
The Sisters of Mercy,
Tears for Fears,
Japan,
Panda Bear,
The Skatalites,
Groovy Waters,
KRS-One,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.