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 Moldova and from Columbus.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Delhi.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar 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 The Invisible to the rap 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 Moebius. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron 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?
Sly & The Family Stone,
Visage,
Oppenheimer Analysis,
Aaron Thompson,
Mad Mike,
The Blues Magoos,
Faust,
Derrick Morgan,
The Black Dice,
Lafayette Afro Rock Band,
Man Eating Sloth,
It's A Beautiful Day,
Harmonia,
Jeff Lynne,
Terror Squad Feat. Camron,
Mo-Dettes,
Lou Reed,
The Standells,
Bill Near,
Heaven 17,
The Durutti Column,
Oblivians,
Warsaw,
Rosa Yemen,
Nico,
Michelle Simonal,
Bang On A Can,
Throbbing Gristle,
The Men They Couldn't Hang,
K-Klass,
The West Coast Pop Art Experimental Band,
The Seeds,
Unrelated Segments,
Althea and Donna,
Franke,
Don Cherry,
Tommy Roe,
the Swans,
Das Ding,
Traffic Nightmare,
Connie Case,
Boogie Down Productions,
Scratch Acid,
Heavy D & The Boyz,
ABBA,
DNA,
Lindisfarne,
Big Daddy Kane,
Hasil Adkins,
Kevin Saunderson,
Depeche Mode,
Camron Feat. Memphis Bleek And Beenie Seigel,
H. Thieme,
Loose Ends,
Buzzcocks,
Can,
E-Dancer,
the Association,
Rod Modell,
John Coltrane,
T.S.O.L.,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.