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 Thailand and from Jakarta.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Copenhagen.
I'm losing my edge to the art-school Paris 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the sitar 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 Slave to the disco kids.
I played it at the 40 Watt.
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 Roy Ayers Ubiquity. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Grey Daturas,
Nils Olav,
Minnie Riperton,
Mantronix,
Johnny Osbourne,
Technova,
Public Image Ltd.,
DNA,
The Angels of Light,
The West Coast Pop Art Experimental Band,
Jeff Mills,
Boz Scaggs,
Pete Rock & C.L. Smooth,
Robert Hood,
Johnny Clarke,
Suicide,
The Human League,
Fat Boys,
James Chance & The Contortions,
Archie Shepp,
Gabor Szabo,
The Zeros,
The Walker Brothers,
Marshall Jefferson,
Visionaries,LMNO, T- Love & Iriscience,
The Fall,
Marvin Gaye,
the Germs,
Agitation Free,
Blancmange,
Moss Icon,
Unrelated Segments,
Spoonie Gee,
Joyce Sims,
Subhumans,
The Dirtbombs,
Roger Hodgson,
Alison Limerick,
Jerry's Kids,
Mars,
Silicon Teens,
Idris Muhammad,
Yusef Lateef,
Beasts of Bourbon,
The Fugs,
Lou Reed,
CMW,
Whodini,
Deutsch Amerikanische Freundschaft,
The Mojo Men,
Theoretical Girls,
Parry Music,
The Victims,
Lou Reed & Metallica,
Michelle Simonal,
Tubeway Army,
China Crisis,
The Five Americans,
The Index,
Essential Logic,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.