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 Madagascar and from Copenhagen.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Manila.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Pussy Galore to the jazz kids.
I played it at the Roxy.
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 Can. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your sitar and bought an organ.
I hear that you and your band have sold your organ and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Skarface,
Basic Channel,
Jacques Brel,
James Chance & The Contortions,
Lungfish,
Depeche Mode,
The Gun Club,
10cc,
Peter Gordon & Love of Life Orchestra,
The Motions,
Tropical Tobacco,
Rhythm & Sound,
Cal Tjader,
Anakelly,
The Walker Brothers,
The Blues Magoos,
James White and The Blacks,
Gian Franco Pienzio,
The Monochrome Set,
Roy Ayers,
Nas,
Drexciya,
Gichy Dan,
Major Organ And The Adding Machine,
La Düsseldorf,
Don Cherry,
Deutsch Amerikanische Freundschaft,
Talk Talk,
Joey Negro,
Boogie Down Productions,
The Chocolate Watch Band,
Tomorrow,
Gerry Rafferty,
Moebius,
Selector Dub Narcotic,
Jimmy McGriff,
Black Flag,
The Dirtbombs,
Avey Tare's Slasher Flicks,
Schoolly D,
New Age Steppers,
Electric Prunes,
Amazonics,
Dorothy Ashby,
Scott Walker + Sunn O))),
Gregory Isaacs,
Eddi Front,
John Cale,
Bush Tetras,
Infiniti,
The Stooges,
Carl Craig,
Minor Threat,
Gil Scott Heron,
Barrington Levy,
Ohio Players,
Strawberry Alarm Clock,
X-Ray Spex,
Susan Cadogan,
Lafayette Afro Rock Band,
Niagra,
Kerri Chandler,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.