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 Japan and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Mexico City 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Laurel Aitken to the dance kids.
I played it at the Spitz.
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 Pierre Henry. All the underground hits.
All Dr. Dre and Snoop Doggy Dog tracks. I heard you have a vinyl of every Amon Düül 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crispy Ambulance record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
The Knickerbockers,
the Fania All-Stars,
Sarah Menescal,
Pere Ubu,
Ajijia Myrayebe,
Black Bananas,
Ornette Coleman,
Deadbeat,
Robert Hood,
Electric Light Orchestra,
Moby Grape,
It's A Beautiful Day,
Lebanon Hanover,
Negative Approach,
Roxy Music,
Heavy D & The Boyz,
Roger Hodgson,
Cybotron,
Lee Hazlewood,
MDC,
Franke,
Cabaret Voltaire,
Young Marble Giants,
The Gun Club,
The Searchers,
Jandek,
The Offenders,
Thompson Twins,
Curtis Mayfield,
Anthony Braxton,
Camron Feat. Jay Z And Juelz,
Rites of Spring,
Vaughan Mason & Crew,
The Doors,
Kerri Chandler,
Subhumans,
Alison Limerick,
Public Image Ltd.,
Flamin' Groovies,
Robert Görl,
Stockholm Monsters,
Röyhkä ja Rättö ja Lehtisalo,
Man Parrish,
Altered Images,
The Real Kids,
Hasil Adkins,
Organ,
Gastr Del Sol,
Underground Resistance,
U.S. Maple,
Infiniti,
K-Klass,
Wolf Eyes,
D'Angelo,
The Cowsills,
The Invisible,
Prince Buster,
The Residents,
Das Ding,
Severed Heads,
the Bar-Kays,
Television, Television, Television, Television.
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.