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 Micronesia and from Sao Paulo.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Bremen and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 kango's stein massive to the funk 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 Freddie Wadling. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The Modern Lovers 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 '90s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
Interpol,
Saccharine Trust,
The Chocolate Watch Band,
Parry Music,
Man Eating Sloth,
Heaven 17,
Hashim,
The Five Americans,
Ultimate Spinach,
The Selecter,
Model 500,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bobby Hutcherson,
Alison Limerick,
Jeff Mills,
Young Marble Giants,
Bobby Sherman,
Johnny Clarke,
Banda Bassotti,
Johnny Osbourne,
The Birthday Party,
Harry Pussy,
The Gun Club,
Letta Mbulu,
Darondo,
Anakelly,
The Victims,
Lee Hazlewood,
Zero Boys,
Stockholm Monsters,
Dead Boys,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fear,
Unrelated Segments,
R.M.O.,
Terror Squad Feat. Camron,
Bauhaus,
Deadbeat,
Urselle,
The Shadows of Knight,
Delon & Dalcan,
T.S.O.L.,
Dr. Dre and Snoop Doggy Dog,
Sonic Youth,
Teenage Jesus and the Jerks,
The Happenings,
Isaac Hayes,
the Swans,
Second Layer,
Joy Division,
Hot Snakes,
David McCallum,
Kaleidoscope,
Dorothy Ashby,
Babytalk,
Duran Duran,
Kauko Röyhkä ja Narttu,
The Gap Band,
X-102,
The Black Dice,
Theoretical Girls,
New Order,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.