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 Ecuador and from Manchester.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 AZ to the techno 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 Little Man. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Public Enemy record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your güiro and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Freddie Wadling,
Spandau Ballet,
The Mighty Diamonds,
Hardrive,
Neil Young,
Soulsonic Force,
Lucky Dragons,
Iggy Pop,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Offenders,
Bang on a Can All-Stars,
Minutemen,
Magazine,
The Kinks,
The Golliwogs,
The Slits,
The Flesh Eaters,
Model 500,
Rahsaan Roland Kirk,
Magma,
Hoover,
Funky Four + One,
Glenn Branca,
Thinking Fellers Union Local 282,
Make Up,
Gary Puckett & The Union Gap,
Glambeats Corp.,
Ornette Coleman,
Bizarre Inc.,
The Music Machine,
Visage,
Tim Buckley,
Gerry Rafferty,
Crime,
Fat Boys,
The Seeds,
Steve Hackett,
The Modern Lovers,
Bill Wells,
Kool G Rap & DJ Polo,
Swans,
Echo & the Bunnymen,
Kayak,
Tears for Fears,
Oblivians,
Agent Orange,
Michelle Simonal,
Section 25,
Stockholm Monsters,
Minnie Riperton,
Sparks,
The Slackers,
The Searchers,
Nas,
La Düsseldorf,
Don Cherry,
R.M.O.,
Eurythmics,
Gil Scott-Heron and Jamie xx,
Barclay James Harvest,
The Cowsills,
New Age Steppers,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.