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 India and from Lyon.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Spokane.
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 snare 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 Mandrill 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 Kevin Saunderson. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
The Moleskins,
Ituana,
Röyhkä ja Rättö ja Lehtisalo,
Todd Rundgren,
John Cale,
Basic Channel,
Oneida,
The Gun Club,
The Zeros,
Black Flag,
Hardrive,
James Chance & The Contortions,
Brand Nubian,
Vainqueur,
Gang Green,
Masters at Work,
Faraquet,
F. McDonald,
The Monochrome Set,
The Neon Judgement,
Supertramp,
Kool G Rap & DJ Polo,
Radiopuhelimet,
Danielle Patucci,
Cluster,
Jesper Dahlback,
The Index,
Aural Exciters,
Severed Heads,
Johnny Clarke,
Rotary Connection,
The Busters,
The Standells,
Aswad,
Los Fastidios,
The Techniques,
The Trojans,
Lucky Dragons,
Jeru the Damaja,
Country Teasers,
PIL,
Lalann,
Rhythim Is Rhythim,
Circle Jerks,
Nik Kershaw,
Bobbi Humphrey,
OOIOO,
Pagans,
Jacob Miller,
Clear Light,
the Fania All-Stars,
Arcadia,
Mo-Dettes,
Reagan Youth,
Deadbeat,
The Evens,
Bauhaus,
The Martian,
The Victims,
Model 500, Model 500, Model 500, Model 500.
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.