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 Italy and from Tokyo.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Cairo 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Nation of Ulysses to the jazz kids.
I played it at Trash.
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 Swell Maps. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Gun Club record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Sun Ra,
The Motions,
Terry Callier,
June Days,
Alice Coltrane,
Bobby Sherman,
Technova,
Jerry's Kids,
the Swans,
Moss Icon,
Kas Product,
Sällskapet,
Avey Tare's Slasher Flicks,
Laurel Aitken,
Aswad,
Thee Headcoats,
The Zeros,
Lee Hazlewood,
Kool Moe Dee,
Kool G Rap & DJ Polo,
Sexual Harrassment,
Monolake,
Bootsy Collins,
The Doors,
The American Breed,
The Royal Family And The Poor,
Matthew Halsall,
China Crisis,
The Moody Blues,
Scratch Acid,
the Association,
Main Source,
The Sisters of Mercy,
The Evens,
Zero Boys,
The Associates,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Grandmaster Flash and the Furious Five,
Bobbi Humphrey,
Shuggie Otis,
DNA,
Bobby Womack,
Jandek,
Todd Rundgren,
Art Ensemble Of Chicago,
Avey Tare,
Visionaries,LMNO, T- Love & Iriscience,
Mr. Review,
Maleditus Sound,
Lou Christie,
Harmonia,
Siglo XX,
Guru Guru,
Wolf Eyes,
Moby Grape,
Magma,
Roger Hodgson,
Liliput,
Animal Collective,
The Leaves,
Slave,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.