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 Colombia and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Tehran and Spokane.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Average White Band to the punk kids.
I played it at the Roxy.
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 Stereo Dub. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Bill Near record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Idris Muhammad,
Jeff Mills,
John Lydon,
Robert Hood,
Big Daddy Kane,
The Modern Lovers,
Jacques Brel,
Gregory Isaacs,
Deutsch Amerikanische Freundschaft,
David McCallum,
Lakeside,
Rites of Spring,
Kaleidoscope,
One Last Wish,
DNA,
Joe Finger,
Man Parrish,
Skaos,
The Skatalites,
Aural Exciters,
Ten City,
John Holt,
Roy Ayers Ubiquity,
Negative Approach,
Charles Mingus,
Brand Nubian,
June Days,
Visage,
Dorothy Ashby,
the Germs,
Gang Starr,
Letta Mbulu,
Au Pairs,
Bronski Beat,
Joe Smooth,
Franke,
The Trojans,
Rakim,
Jeru the Damaja,
Jeff Lynne,
Cal Tjader,
Terror Squad Feat. Camron,
Television,
Monks,
Loose Ends,
Harpers Bizarre,
Hashim,
Crispy Ambulance,
Pharoah Sanders,
Byron Stingily,
Throbbing Gristle,
Scrapy,
Jerry Gold Smith,
Ken Boothe,
Marcia Griffiths,
Sly & The Family Stone,
Rahsaan Roland Kirk,
Trumans Water,
Index,
Skarface,
Kerri Chandler,
Organ,
Selector Dub Narcotic,
Tres Demented, Tres Demented, Tres Demented, Tres Demented.
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.