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 Estonia and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Cairo 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 Captain Beefheart 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 The Sonics to the disco kids.
I played it at the 40 Watt.
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 Lebanon Hanover. All the underground hits.
All Can tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
Flipper,
The Music Machine,
The New Christs,
Nick Fraelich,
Echospace,
Cecil Taylor,
Letta Mbulu,
Dawn Penn,
Aaron Thompson,
Lyres,
Ash Ra Tempel,
Wasted Youth,
Radio Birdman,
Roxette,
Mr. Review,
Television,
The Doobie Brothers,
Jeff Mills,
Sandy B,
Tommy Roe,
Unwound,
Harpers Bizarre,
Sällskapet,
the Swans,
Kool G Rap & DJ Polo,
The Durutti Column,
Qualms,
Sun Ra Arkestra,
Roy Ayers,
Alison Limerick,
New Age Steppers,
Nik Kershaw,
Siglo XX,
The Index,
Graham Central Station,
Scott Walker,
Hoover,
Ornette Coleman,
Selector Dub Narcotic,
MDC,
Lou Reed & John Cale,
LL Cool J,
Bobby Byrd,
Masters at Work,
Joe Smooth,
Sonny Sharrock,
Rosa Yemen,
The Victims,
Section 25,
Art Ensemble Of Chicago,
Ronnie Foster,
Black Flag,
Arthur Verocai,
Bauhaus,
Delta 5,
Lafayette Afro Rock Band,
Wally Richardson,
Black Bananas,
The Mummies,
Bang on a Can All-Stars,
Eric B and Rakim,
La Düsseldorf,
Simply Red, Simply Red, Simply Red, Simply Red.
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.