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 El Salvador and from Spokane.
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 London and Edmonton.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Althea and Donna to the punk kids.
I played it at Cafe Wha.
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 Barbara Tucker. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
This Heat,
David McCallum,
Wire,
Rufus Thomas,
Pete Rock & C.L. Smooth,
The Cramps,
Maurizio,
Intrusion,
Lebanon Hanover,
The Martian,
Scott Walker + Sunn O))),
Blake Baxter,
EPMD,
The Motions,
Larry & the Blue Notes,
Glambeats Corp.,
Graham Central Station,
Louis and Bebe Barron,
Tom Boy,
LL Cool J,
8 Eyed Spy,
Supertramp,
Fugazi,
Malaria!,
Royal Trux,
Nick Cave & The Bad Seeds,
Fear,
The Doobie Brothers,
Fat Boys,
The Vogues,
Severed Heads,
Alison Limerick,
The Associates,
Los Fastidios,
Joensuu 1685,
Danielle Patucci,
Pulsallama,
Marc Almond,
The Raincoats,
Nirvana,
Ornette Coleman,
Goldenarms,
Bobbi Humphrey,
Man Eating Sloth,
Magazine,
Dark Day,
Joe Smooth,
Bobby Sherman,
Inner City,
The Stooges,
Kevin Saunderson,
Interpol,
X-101,
Howard Jones,
The United States of America,
Gang of Four,
Wings,
Kayak,
The Remains,
The Fall, The Fall, The Fall, The Fall.
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.