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 Dominica and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Hong Kong 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 arpeggiator 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 Drive Like Jehu to the techno kids.
I played it at the Spitz.
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 X-101. All the underground hits.
All Scientists tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Nik Kershaw,
Soft Machine,
Bob Dylan,
Terror Squad Feat. Camron,
Von Mondo,
Babytalk,
Q and Not U,
H. Thieme,
Aswad,
Camouflage,
Ponytail,
The Sound,
Sixth Finger,
Minny Pops,
Chris Corsano,
Terry Callier,
T. Rex,
Anthony Braxton,
the Human League,
The Names,
Beasts of Bourbon,
La Düsseldorf,
Avey Tare,
Saccharine Trust,
Alton Ellis,
Banda Bassotti,
Jandek,
Radiohead,
Sexual Harrassment,
The Fugs,
Susan Cadogan,
Rhythm & Sound,
Audionom,
Average White Band,
The Birthday Party,
Marc Romboy vs. Booka Shade,
X-102,
Prince Buster,
The West Coast Pop Art Experimental Band,
Maleditus Sound,
The Real Kids,
Aural Exciters,
Funky Four + One,
Kurtis Blow,
Visionaries,LMNO, T- Love & Iriscience,
Arab on Radar,
Juan Atkins,
Pharoah Sanders,
Moss Icon,
Larry & the Blue Notes,
Newcleus,
The Remains,
Bill Wells,
Bill Near,
E-Dancer,
These Immortal Souls,
Excepter,
Rhythim Is Rhythim,
The Misunderstood,
Justin Hinds & The Dominoes,
Rod Modell,
Lou Reed & Metallica,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.