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 Bosnia Herzegovina and from Lyon.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
I'm losing my edge to the art-school London 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Deadbeat to the crunk kids.
I played it at the Troubador.
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 Los Fastidios. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Lower 48,
The Stooges,
Joyce Sims,
World's Most,
The Kinks,
Soft Cell,
The Names,
Intrusion,
Roy Ayers,
MDC,
DJ Style,
The Grass Roots,
Babytalk,
X-Ray Spex,
Radio Birdman,
John Cale,
Severed Heads,
Little Man,
The J.B.'s,
Massinfluence,
Red Lorry Yellow Lorry,
Eyeless In Gaza,
Eli Mardock,
Boz Scaggs,
Dark Day,
Subhumans,
Public Image Ltd.,
Cheater Slicks,
Siglo XX,
Bill Near,
The Dead C,
Byron Stingily,
Minor Threat,
Pharaoh Sanders and the Fire Engines,
Grauzone,
Deepchord,
The Buckinghams,
Sonic Youth,
Morten Harket,
Porter Ricks,
kango's stein massive,
Wally Richardson,
Essential Logic,
Fatback Band,
Saccharine Trust,
Flamin' Groovies,
Fat Boys,
Marc Almond,
Skaos,
Al Stewart,
Newcleus,
Michelle Simonal,
Altered Images,
Echospace,
Boredoms,
Laurel Aitken,
Visage,
Graham Central Station,
the Germs,
Ronan,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.