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 Bangladesh and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1976.
I'm losing my edge.
To all the kids in Calgary and Toronto.
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 güiro 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 Black Pus to the techno 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 Icehouse. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Chris & Cosey,
Model 500,
The Black Dice,
Animal Collective,
Gian Franco Pienzio,
Crooked Eye,
Gil Scott-Heron and Jamie xx,
Tropical Tobacco,
Erasure,
Lalo Schifrin,
Dual Sessions,
Japan,
Vaughan Mason & Crew,
Electric Prunes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Make Up,
Camberwell Now,
The Men They Couldn't Hang,
Davy DMX,
Sexual Harrassment,
The Cure,
Eyeless In Gaza,
Mr. Review,
The Remains,
Sugar Minott,
Malaria!,
Strawberry Alarm Clock,
Vladislav Delay,
Grandmaster Flash and the Furious Five,
Delta 5,
Loose Ends,
Flipper,
Aswad,
The Toasters,
Danielle Patucci,
DJ Style,
Easy Going,
Man Parrish,
Super Lover Cee & Casanova Rud,
The Tremeloes,
Pole,
Skriet,
Bob Dylan,
Brass Construction,
Altered Images,
Shoche,
the Normal,
One Last Wish,
Kayak,
Barbara Tucker,
The Seeds,
Al Stewart,
Harry Pussy,
K-Klass,
Big Daddy Kane,
Andrew Hill,
Isaac Hayes,
The Doors,
Skaos,
Stiv Bators,
Faust,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.