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 Haiti and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1962 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Spokane 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 The Blackbyrds to the grunge kids.
I played it at the Roxy.
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 cv313. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Minny Pops 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 '80s cut and another box set from the '70s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Robert Hood,
Motorama,
Gil Scott-Heron and Jamie xx,
Lucky Dragons,
Al Stewart,
Funkadelic,
Sex Pistols,
Gregory Isaacs,
Urselle,
The Blues Magoos,
Bang On A Can,
Camberwell Now,
Roxy Music,
Fad Gadget,
Derrick Morgan,
Thinking Fellers Union Local 282,
The Velvet Underground,
KRS-One,
Minnie Riperton,
Japan,
Bang on a Can All-Stars,
Matthew Bourne,
Rhythim Is Rhythim,
Dark Day,
Eve St. Jones,
Boredoms,
Anthony Braxton,
Bauhaus,
Roy Ayers Ubiquity,
Art Ensemble Of Chicago,
DNA,
Drexciya,
The Selecter,
Magazine,
The Pop Group,
Moss Icon,
Sticky Fingaz feat. Raekwon,
Angry Samoans,
Cluster,
Tom Boy,
Andrew Hill,
Vladislav Delay,
New York Dolls,
Kool G Rap & DJ Polo,
Circle Jerks,
Deepchord,
John Cale,
The Monks,
Clear Light,
The Gories,
Essential Logic,
Deutsch Amerikanische Freundschaft,
The Divine Comedy,
Tubeway Army,
FM Einheit,
The American Breed,
Henry Cow,
Marvin Gaye,
Can,
Graham Central Station,
Television Personalities,
The Standells, The Standells, The Standells, The Standells.
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.