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 Lebanon and from Tehran.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Rufus Thomas to the dance 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 Scientists. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every The United States of America 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your snare and bought a theremin.
I hear that you and your band have sold your theremin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Terror Squad Feat. Camron,
This Heat,
Big Daddy Kane,
Pere Ubu,
Connie Case,
A Certain Ratio,
Nik Kershaw,
The Monochrome Set,
Liliput,
The Moody Blues,
Faust,
B.T. Express,
X-102,
Panda Bear,
Echo & the Bunnymen,
Leonard Cohen,
Quando Quango,
Roxy Music,
Judy Mowatt,
World's Most,
Davy DMX,
Jacques Brel,
Rowland S Howard / Lydia Lunch,
Sandy B,
Crispian St. Peters,
The Last Poets,
Moss Icon,
Throbbing Gristle,
New Age Steppers,
Ronnie Foster,
DJ Sneak,
Electric Prunes,
Marc Romboy vs. Booka Shade,
Pulsallama,
The Men They Couldn't Hang,
K-Klass,
Major Organ And The Adding Machine,
Simply Red,
Moebius,
Man Parrish,
Peter & Gordon,
Danielle Patucci,
Youth Brigade,
Joy Division,
The Sonics,
Jacob Miller,
The Moleskins,
Gang Gang Dance,
The Tremeloes,
Ohio Players,
Todd Rundgren,
Rapeman,
Scratch Acid,
Sight & Sound,
Lower 48,
Malaria!,
Jandek,
The Music Machine,
Bizarre Inc.,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.