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 Bangladesh and from Toronto.
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 1970.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 Mojo Men to the grime kids.
I played it at the Troubador.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Television 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jerry's Kids record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
Jeru the Damaja,
Marmalade,
Boogie Down Productions,
Reagan Youth,
Archie Shepp,
Tears for Fears,
Rufus Thomas,
Gichy Dan,
Beasts of Bourbon,
The Music Machine,
the Germs,
The Mummies,
Depeche Mode,
R.M.O.,
Qualms,
The Real Kids,
Visage,
Yellowson,
Moby Grape,
Cymande,
DJ Style,
John Foxx,
Rekid,
Black Sheep,
Gregory Isaacs,
Audionom,
Avey Tare & Kría Brekkan,
Hashim,
Kerri Chandler,
Isaac Hayes,
DNA,
Blossom Toes,
Cabaret Voltaire,
The West Coast Pop Art Experimental Band,
The Velvet Underground,
Mr. Review,
The Stooges,
The Pretty Things,
Kevin Saunderson,
Desert Stars,
Louis and Bebe Barron,
Cameo,
Kauko Röyhkä ja Narttu,
Manfred Mann's Earth Band,
The Men They Couldn't Hang,
Popol Vuh,
Girls At Our Best!,
PIL,
Eric Copeland,
Panda Bear,
Country Joe & The Fish,
Bad Manners,
Lou Christie,
Babytalk,
Dead Boys,
Nick Cave & The Bad Seeds,
Deadbeat,
Joy Division,
H. Thieme,
The Modern Lovers,
the Slits,
London Community Gospel Choir,
Excepter,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.