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 Spain and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
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 oboe sounds with much patience.
I was there when David Bowie 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 John Lydon to the jazz 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 Scan 7. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Trumans Water 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
The Mighty Diamonds,
Eddi Front,
Ornette Coleman,
The Index,
Tres Demented,
Dual Sessions,
Bill Wells,
Lee Hazlewood,
a-ha,
Public Image Ltd.,
Matthew Halsall,
Black Pus,
Sugar Minott,
Nation of Ulysses,
Oblivians,
Surgeon,
Pete Rock & C.L. Smooth,
Mark Hollis,
Man Eating Sloth,
The Busters,
The Names,
Deutsch Amerikanische Freundschaft,
Ultramagnetic MC's,
Minutemen,
The Invisible,
Rufus Thomas,
Q65,
Moby Grape,
Unrelated Segments,
Wire,
Marmalade,
Selector Dub Narcotic,
Vaughan Mason & Crew,
The Monochrome Set,
The Pretty Things,
The Last Poets,
Idris Muhammad,
Johnny Clarke,
Avey Tare's Slasher Flicks,
Ponytail,
Toni Rubio,
Swans,
Sällskapet,
Brick,
Hot Snakes,
Reagan Youth,
DeepChord presents Echospace,
Barclay James Harvest,
Drive Like Jehu,
Man Parrish,
Chris Corsano,
Tom Boy,
New Order,
The Raincoats,
Mandrill,
The Count Five,
Deepchord,
The Stooges,
Bootsy Collins,
John Foxx,
Bobby Sherman,
Rapeman,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.