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 Denmark and from Columbus.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Manchester and Milan.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the spring reverb 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 Funkadelic to the dance kids.
I played it at the Hacienda.
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 Harmonia. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
CMW,
Guru Guru,
The Mummies,
Heavy D & The Boyz,
Nas,
Bad Manners,
Black Moon,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pantytec,
Beasts of Bourbon,
the Association,
Derrick Morgan,
48th St. Collective,
Marc Almond,
Scientists,
Panda Bear,
Skarface,
Soulsonic Force,
Eric Dolphy,
Black Pus,
The Selecter,
The Fugs,
Bobby Sherman,
the Human League,
Crime,
Sun Ra,
Wally Richardson,
The West Coast Pop Art Experimental Band,
Little Man,
Lalo Schifrin,
Suicide,
Kevin Saunderson,
Barbara Tucker,
Gabor Szabo,
The Misunderstood,
Amazonics,
The Monks,
World's Most,
Schoolly D,
John Coltrane,
James Chance & The Contortions,
Ossler,
Cecil Taylor,
The Trojans,
Scan 7,
Glambeats Corp.,
Wire,
Sad Lovers and Giants,
Louis and Bebe Barron,
Henry Cow,
Rhythm & Sound,
Tropical Tobacco,
Harpers Bizarre,
MDC,
Minnie Riperton,
The Invisible,
Piero Umiliani,
X-101,
John Foxx,
Amon Düül II,
Eric Copeland,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.