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 Burkina and from Milan.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Madrid and Delhi.
I'm losing my edge to the art-school Madrid 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Blake Baxter to the grunge kids.
I played it at the Hacienda.
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 Mandrill. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Monks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
the Soft Cell,
Throbbing Gristle,
Todd Terry,
Outsiders,
R.M.O.,
Andrew Ashong & Theo Parrish,
Electric Light Orchestra,
Blancmange,
Letta Mbulu,
The Remains,
Joyce Sims,
Public Enemy,
Heaven 17,
Dual Sessions,
The Dead C,
The Angels of Light,
Liaisons Dangereuses,
Infiniti,
Lafayette Afro Rock Band,
Massinfluence,
Jandek,
Skaos,
One Last Wish,
Bang On A Can,
Vainqueur,
Dawn Penn,
Teenage Jesus and the Jerks,
Aural Exciters,
Alton Ellis,
Man Eating Sloth,
the Swans,
Dead Boys,
Orchestral Manoeuvres in the Dark,
Drexciya,
Crispian St. Peters,
UT,
Eric Dolphy,
Beasts of Bourbon,
The Evens,
Ludus,
Jerry Gold Smith,
the Slits,
Maurizio,
Traffic Nightmare,
Eurythmics,
Crime,
Little Man,
The Divine Comedy,
The Alarm Clocks,
The Techniques,
Lightning Bolt,
Terrestrial Tones,
Duran Duran,
Television,
Fatback Band,
David Axelrod,
Ituana,
Metal Thangz,
Be Bop Deluxe,
June of 44,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.