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 Chile and from Salvador.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1960 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Paris.
I'm losing my edge to the art-school Spokane 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 rhodes 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 Monks to the techno 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 The New Christs. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every PIL record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Sneak,
The Peanut Butter Conspiracy,
The Buckinghams,
8 Eyed Spy,
Aloha Tigers,
Minor Threat,
Tommy Roe,
Unrelated Segments,
Talk Talk,
Bill Wells,
Lalann,
Jacques Brel,
Kerri Chandler,
Henry Cow,
The Standells,
Aural Exciters,
the Soft Cell,
Scion,
Mr. Review,
Bad Manners,
Whodini,
Severed Heads,
Second Layer,
World's Most,
Stetsasonic,
The Mojo Men,
The Beau Brummels,
Bauhaus,
Public Image Ltd.,
Bobby Sherman,
Colin Newman,
Section 25,
Lee Hazlewood,
Excepter,
Intrusion,
Swell Maps,
Moby Grape,
Brick,
Skriet,
Guru Guru,
The Dead C,
EPMD,
Kauko Röyhkä ja Narttu,
Funky Four + One,
Throbbing Gristle,
Bootsy Collins,
Black Bananas,
JFA,
Gregory Isaacs,
Fear,
Brand Nubian,
Das Ding,
Main Source,
Rufus Thomas,
Oblivians,
Rosa Yemen,
Angry Samoans,
Man Parrish,
Art Ensemble Of Chicago,
The Last Poets,
Electric Prunes,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
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.