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 Kiribati and from Hong Kong.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Manchester 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Idris Muhammad to the crunk 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 Peter & Gordon. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Negative Approach 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dead Boys record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
Brand Nubian,
Terrestrial Tones,
Aswad,
Eli Mardock,
Avey Tare & Kría Brekkan,
Amazonics,
Mantronix,
Boredoms,
Trumans Water,
Black Moon,
The United States of America,
Jeru the Damaja,
The Residents,
Bobby Womack,
Minutemen,
Pete Rock & C.L. Smooth,
Johnny Clarke,
Alison Limerick,
Jeff Mills,
the Slits,
Country Joe & The Fish,
Captain Beefheart & His Magic Band,
Massinfluence,
Dr. Dre and Snoop Doggy Dog,
Audionom,
Blake Baxter,
Vaughan Mason & Crew,
Peter & Gordon,
Rowland S Howard / Lydia Lunch,
Harpers Bizarre,
Brass Construction,
Minor Threat,
Bronski Beat,
Japan,
Red Lorry Yellow Lorry,
Sex Pistols,
Johnny Osbourne,
The Busters,
the Normal,
The Dirtbombs,
Rufus Thomas,
The Gories,
Pylon,
Marcia Griffiths,
The Jesus and Mary Chain,
Robert Wyatt,
Judy Mowatt,
Fort Wilson Riot,
Moebius,
Circle Jerks,
Avey Tare's Slasher Flicks,
Moss Icon,
Dave Gahan,
Moby Grape,
Television Personalities,
Derrick May,
Letta Mbulu,
Ornette Coleman,
Tommy Roe,
Vladislav Delay,
The Alarm Clocks,
Lalo Schifrin,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.