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 Guinea-Bissau and from Johannesburg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Hong Kong.
I'm losing my edge to the art-school Beijing 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Lou Christie to the rap kids.
I played it at CBGB's.
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 Bobby Byrd. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Mantronix 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 '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Stiv Bators,
Fluxion,
Susan Cadogan,
Pet Shop Boys,
Leonard Cohen,
Wire,
Throbbing Gristle,
Grey Daturas,
X-101,
Young Marble Giants,
Black Pus,
Teenage Jesus and the Jerks,
Joyce Sims,
Model 500,
Man Parrish,
Glenn Branca,
Inner City,
Bang on a Can All-Stars,
Gichy Dan,
Max Romeo,
Iggy Pop,
Al Stewart,
Black Sheep,
Crash Course in Science,
Massinfluence,
Orchestral Manoeuvres in the Dark,
Echospace,
Masters at Work,
Lalo Schifrin,
Brothers Johnson,
Black Moon,
The Dead C,
Vaughan Mason & Crew,
Panda Bear,
Aswad,
Main Source,
The Victims,
Pulsallama,
Half Japanese,
Godley & Creme,
Clear Light,
T.S.O.L.,
Subhumans,
The New Christs,
Bobby Byrd,
Letta Mbulu,
The Seeds,
The Neon Judgement,
The Index,
The Monochrome Set,
Manfred Mann's Earth Band,
Technova,
Freddie Wadling,
Parry Music,
Barrington Levy,
Joy Division,
the Fania All-Stars,
Gang Green,
Smog, Smog, Smog, Smog.
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.