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 Estonia and from Portland.
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 Tehran and Calgary.
I'm losing my edge to the art-school Portland 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Lightning Bolt to the rap 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 Das Ding. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Eric Copeland 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 '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Roy Ayers,
Sad Lovers and Giants,
Gian Franco Pienzio,
The Flesh Eaters,
Pharaoh Sanders and the Fire Engines,
Juan Atkins,
Girls At Our Best!,
Hashim,
Donald Byrd,
Rowland S Howard / Lydia Lunch,
Symarip,
Qualms,
Severed Heads,
Laurel Aitken,
MDC,
Ice-T,
Lou Reed & Metallica,
The Residents,
Peter Gordon & Love of Life Orchestra,
Banda Bassotti,
Alison Limerick,
Fatback Band,
The Cure,
Donny Hathaway,
La Düsseldorf,
The Saints,
Orchestral Manoeuvres in the Dark,
Agitation Free,
Half Japanese,
Sound Behaviour,
DeepChord presents Echospace,
Bill Wells,
The Peanut Butter Conspiracy,
EPMD,
Johnny Osbourne,
B.T. Express,
Arcadia,
ABC,
Dennis Brown,
Alice Coltrane,
Rakim,
Model 500,
The Smiths,
Ralphi Rosario,
Manfred Mann's Earth Band,
Vainqueur,
Young Marble Giants,
Bronski Beat,
Scrapy,
Visage,
Delon & Dalcan,
Tomorrow,
Soft Cell,
Godley & Creme,
Jandek,
Nils Olav,
Boz Scaggs,
X-102,
R.M.O.,
Marine Girls,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.