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 Togo and from Delhi.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Delhi.
I'm losing my edge to the art-school Tehran 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 808 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 Neu! to the crunk kids.
I played it at the Astoria.
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 Scientists. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every Ossler 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 '50s cut and another box set from the '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Monks,
Charles Mingus,
Man Eating Sloth,
Mad Mike,
Spoonie Gee,
Avey Tare & Kría Brekkan,
Sunsets and Hearts,
The Monochrome Set,
Avey Tare,
Symarip,
Fat Boys,
The Modern Lovers,
The Doors,
Rowland S Howard / Lydia Lunch,
Arthur Verocai,
Crash Course in Science,
Terry Callier,
The Fall,
Teenage Jesus and the Jerks,
Stiv Bators,
the Fania All-Stars,
Ice-T,
Ralphi Rosario,
Stetsasonic,
Pantaleimon,
Unrelated Segments,
Easy Going,
The Invisible,
Pierre Henry,
Sällskapet,
Dual Sessions,
Joey Negro,
Guru Guru,
Ken Boothe,
Robert Görl,
Todd Terry,
Toni Rubio,
Bobby Byrd,
The Flesh Eaters,
Andrew Hill,
Joyce Sims,
Severed Heads,
Rhythm & Sound,
Vaughan Mason & Crew,
Eli Mardock,
Das Ding,
Crime,
Nico,
X-102,
Cybotron,
Davy DMX,
Scan 7,
Dr. Dre and Snoop Doggy Dog,
Sandy B,
The West Coast Pop Art Experimental Band,
ABBA,
Au Pairs,
Bobby Sherman,
Pere Ubu,
The Golliwogs,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.