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 Kazakhstan 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 1961 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Paris 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 Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Barry Ungar to the rock kids.
I played it at Trash.
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 Boogie Down Productions. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Electric Prunes 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 '70s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your snare and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
The Star Department,
Eyeless In Gaza,
Byron Stingily,
The Selecter,
MDC,
Michelle Simonal,
Steve Hackett,
Lebanon Hanover,
Girls At Our Best!,
Gil Scott Heron,
Rod Modell,
Bobby Hutcherson,
Das Ding,
Little Man,
Tears for Fears,
Bobbi Humphrey,
New York Dolls,
Jacob Miller,
Brand Nubian,
Jeff Mills,
T.S.O.L.,
Strawberry Alarm Clock,
Sister Nancy,
Gabor Szabo,
Lizzy Mercier Descloux,
Mad Mike,
JFA,
Ultimate Spinach,
Jeff Lynne,
Aaron Thompson,
Amazonics,
Major Organ And The Adding Machine,
X-102,
Sarah Menescal,
Pylon,
Simply Red,
Stetsasonic,
The Birthday Party,
Bang On A Can,
Grey Daturas,
Deadbeat,
Dorothy Ashby,
Gary Puckett & The Union Gap,
Crash Course in Science,
The Litter,
Shuggie Otis,
Q and Not U,
the Slits,
A Flock of Seagulls,
Vaughan Mason & Crew,
Schoolly D,
John Coltrane,
Boogie Down Productions,
the Germs,
Fugazi,
Selector Dub Narcotic,
Eurythmics,
Matthew Bourne,
Amon Düül II,
Jeru the Damaja,
Andrew Ashong & Theo Parrish,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.