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 Swaziland and from Cairo.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Spokane 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 mellotron 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 Oneida to the disco kids.
I played it at the Crocodile.
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 Suburban Knight. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic 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?
The Divine Comedy,
Dorothy Ashby,
Josef K,
Ludus,
Ultravox,
Black Sheep,
Robert Wyatt,
Lizzy Mercier Descloux,
Bobby Womack,
Alton Ellis,
Ornette Coleman,
The Doors,
Depeche Mode,
Adolescents,
Archie Shepp,
the Bar-Kays,
Cybotron,
Faust,
Bobby Sherman,
Minutemen,
Skaos,
Pete Rock & C.L. Smooth,
Mark Hollis,
Television,
The Motions,
Isaac Hayes,
Ponytail,
Lou Reed & John Cale,
Eyeless In Gaza,
Minnie Riperton,
Big Daddy Kane,
Ronnie Foster,
Juan Atkins,
Nation of Ulysses,
Beasts of Bourbon,
Henry Cow,
Absolute Body Control,
Alison Limerick,
Ajijia Myrayebe,
Glambeats Corp.,
Hashim,
The Techniques,
Tomorrow,
Kevin Saunderson,
The Men They Couldn't Hang,
The Black Dice,
June of 44,
Joy Division,
Moby Grape,
The Kinks,
The Cowsills,
A Certain Ratio,
Darondo,
The Cure,
Brand Nubian,
Tres Demented,
Youth Brigade,
Public Enemy,
Mandrill,
Sticky Fingaz feat. Raekwon,
Dawn Penn,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.