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 Vietnam and from Milan.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Brass Construction to the punk 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 Crash Course in Science. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Metal Thangz,
Marvin Gaye,
Massinfluence,
Colin Newman,
New York Dolls,
Lyres,
Lou Reed & Metallica,
Q and Not U,
The Mummies,
Masters at Work,
Joyce Sims,
Television,
Amazonics,
Von Mondo,
Wasted Youth,
Bizarre Inc.,
Icehouse,
Essential Logic,
The Barracudas,
The American Breed,
Tomorrow,
Stockholm Monsters,
Khruangbin,
Drive Like Jehu,
Subhumans,
Bad Manners,
Vaughan Mason & Crew,
Delta 5,
The Alarm Clocks,
Lebanon Hanover,
Eyeless In Gaza,
Gichy Dan,
Marine Girls,
Buzzcocks,
Grey Daturas,
Thinking Fellers Union Local 282,
The Shadows of Knight,
Aswad,
Ultimate Spinach,
Pulsallama,
Jawbox,
Teenage Jesus and the Jerks,
Bob Dylan,
T.S.O.L.,
Peter and Kerry,
Jeff Mills,
Lindisfarne,
Leonard Cohen,
The Wake,
The Martian,
Captain Beefheart & His Magic Band,
DJ Style,
Can,
Don Cherry,
Notorious BIG live in Amsterdam,
Monks,
Banda Bassotti,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
De La Soul & Jungle Brothers,
Erykah Badu,
Iggy Pop,
The Black Dice,
Aural Exciters,
KRS-One, KRS-One, KRS-One, KRS-One.
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.