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 Montenegro and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Seoul and Mumbai.
I'm losing my edge to the art-school Toronto 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 snare sounds with much patience.
I was there when Donald Fagen 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 Sound Behaviour 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 The Alarm Clocks. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Lee Hazlewood 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
David McCallum,
The Raincoats,
Sarah Menescal,
The Monochrome Set,
B.T. Express,
Dorothy Ashby,
Darondo,
Pantaleimon,
Yaz,
Cecil Taylor,
Ronnie Foster,
Angry Samoans,
The Sound,
Banda Bassotti,
H. Thieme,
Graham Central Station,
Neil Young,
Pagans,
ABC,
Rapeman,
Dual Sessions,
Lebanon Hanover,
The Move,
Marc Romboy vs. Booka Shade,
Ossler,
The Cowsills,
Black Bananas,
Basic Channel,
The Happenings,
Suicide,
Con Funk Shun,
Warren Ellis,
Youth Brigade,
Cymande,
Los Fastidios,
Whodini,
Delta 5,
A Certain Ratio,
Minnie Riperton,
Public Image Ltd.,
Tomorrow,
X-Ray Spex,
Beasts of Bourbon,
Half Japanese,
Pharaoh Sanders and the Fire Engines,
F. McDonald,
Sound Behaviour,
Make Up,
The Golliwogs,
Erykah Badu,
Wighnomy Brothers & Robag Wruhme,
Fugazi,
Negative Approach,
John Holt,
Metal Thangz,
The Invisible,
The Beau Brummels,
Oppenheimer Analysis,
Tears for Fears,
Isaac Hayes,
Country Teasers,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.