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 Ecuador and from Edmonton.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Tokyo and Columbus.
I'm losing my edge to the art-school Portland 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 synthesizer sounds with much patience.
I was there when David Bowie 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 Roy Ayers to the grunge kids.
I played it at the Hacienda.
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 Red Krayola. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Art Ensemble Of Chicago,
Roxy Music,
The Black Dice,
Symarip,
Animal Collective,
Marshall Jefferson,
John Lydon,
the Bar-Kays,
UT,
Clear Light,
Jesper Dahlback,
Marc Romboy vs. Booka Shade,
Unwound,
Skarface,
Zapp,
Adolescents,
James White and The Blacks,
The Move,
Wally Richardson,
Tom Boy,
Tres Demented,
The Beau Brummels,
Index,
Maurizio,
Nick Fraelich,
Patti Smith,
Sun Ra,
Whodini,
Charles Mingus,
Grandmaster Flash and the Furious Five,
Visionaries,LMNO, T- Love & Iriscience,
Aaron Thompson,
Nas,
Monolake,
Eli Mardock,
Chris & Cosey,
Gil Scott Heron,
Jacques Brel,
The Peanut Butter Conspiracy,
Colin Newman,
The Count Five,
Avey Tare,
Deakin,
Blancmange,
The Barracudas,
Kango’s Stein Massive,
Donald Byrd,
Brass Construction,
Siglo XX,
The Fugs,
Wings,
Orchestral Manoeuvres in the Dark,
Sparks,
Jandek,
The Pretty Things,
Captain Beefheart & His Magic Band,
Heaven 17,
Peter and Kerry,
Mo-Dettes,
The Remains,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.