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 Oman and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Toronto and Cairo.
I'm losing my edge to the art-school Milan 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Move to the rock kids.
I played it at the Astoria.
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 Depeche Mode. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Dave Gahan 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Intrusion record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
The Red Krayola,
The Monks,
Inner City,
Arcadia,
The Angels of Light,
The Martian,
Drexciya,
Man Parrish,
Bobby Byrd,
The Birthday Party,
Mars,
Frankie Knuckles,
Pylon,
The Leaves,
Subhumans,
Parry Music,
Scott Walker + Sunn O))),
the Swans,
Bobbi Humphrey,
Black Flag,
Rosa Yemen,
Pussy Galore,
Sexual Harrassment,
Justin Hinds & The Dominoes,
Unrelated Segments,
Bootsy Collins,
Aural Exciters,
Delon & Dalcan,
Fluxion,
Rapeman,
Unwound,
Visionaries,LMNO, T- Love & Iriscience,
Bang On A Can,
the Sonics,
Little Man,
Essential Logic,
Kool G Rap & DJ Polo,
Loose Ends,
Max Romeo,
OOIOO,
Supertramp,
Sällskapet,
The Slackers,
The West Coast Pop Art Experimental Band,
David Axelrod,
Laurel Aitken,
Tropical Tobacco,
Roxy Music,
Cecil Taylor,
Stiv Bators,
Pere Ubu,
Vladislav Delay,
The Monochrome Set,
Nik Kershaw,
Los Fastidios,
cv313,
Lafayette Afro Rock Band,
The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor.
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.