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 Libya and from Mexico City.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1966 to 1970.
I'm losing my edge.
To all the kids in London and Madrid.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Severed Heads to the crunk kids.
I played it at the Crocodile.
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 Groovy Waters. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Pete Rock & C.L. Smooth record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
The Blues Magoos,
Oppenheimer Analysis,
Ice-T,
Rhythim Is Rhythim,
Alton Ellis,
Motorama,
Eddi Front,
Joy Division,
AZ,
Masters at Work,
Suicide,
Lungfish,
Newcleus,
David Axelrod,
Pharoah Sanders,
The Five Americans,
Tears for Fears,
DNA,
The Sonics,
Lou Reed,
Andrew Hill,
Sonic Youth,
Idris Muhammad,
Dr. Dre and Snoop Doggy Dog,
The Smoke,
Nation of Ulysses,
Drive Like Jehu,
PIL,
Silicon Teens,
Angry Samoans,
Mark Hollis,
Kings Of Tomorrow,
Ornette Coleman,
Television,
Rites of Spring,
Delon & Dalcan,
Wings,
Audionom,
Infiniti,
Peter and Kerry,
Hasil Adkins,
Dark Day,
Oblivians,
Reuben Wilson,
Symarip,
Wighnomy Brothers & Robag Wruhme,
Bill Near,
Brick,
Ituana,
Magma,
The Toasters,
Funkadelic,
The New Christs,
This Heat,
Roxette,
Vainqueur,
Black Sheep,
The Doobie Brothers,
Black Moon,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.