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 Djibouti and from Hong Kong.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Tehran 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the sitar 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 Scan 7 to the punk 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 PIL. All the underground hits.
All Can tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal rock 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Marc Almond,
Tubeway Army,
Lucky Dragons,
T.S.O.L.,
Dorothy Ashby,
Patti Smith,
Lou Reed & John Cale,
The Associates,
Wire,
Main Source,
Teenage Jesus and the Jerks,
Absolute Body Control,
Section 25,
Monks,
Throbbing Gristle,
Hasil Adkins,
The Zeros,
Dr. Dre and Snoop Doggy Dog,
Davy DMX,
The Beau Brummels,
Banda Bassotti,
Tom Boy,
Ken Boothe,
Magazine,
Terry Callier,
Symarip,
The Gladiators,
Grey Daturas,
The Alarm Clocks,
Robert Hood,
The Residents,
Judy Mowatt,
Massinfluence,
The Moleskins,
Aural Exciters,
Wings,
Radio Birdman,
Bill Near,
Jeru the Damaja,
Make Up,
Lee Hazlewood,
Glenn Branca,
Heaven 17,
Oppenheimer Analysis,
Jerry's Kids,
Todd Rundgren,
Mark Hollis,
Parry Music,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Durutti Column,
Sister Nancy,
Pharoah Sanders,
The Selecter,
The Invisible,
Wally Richardson,
Blossom Toes,
The J.B.'s,
Carl Craig, Carl Craig, Carl Craig, Carl Craig.
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.