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 Malta and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Portland 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 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 Sarah Menescal to the funk kids.
I played it at CBGB's.
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 Tim Buckley. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every The Residents 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 '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Grandmaster Flash,
Simply Red,
Todd Terry,
Eric B and Rakim,
John Coltrane,
Jandek,
Kas Product,
Sugar Minott,
Kango’s Stein Massive,
Throbbing Gristle,
Sunsets and Hearts,
Bush Tetras,
Soft Machine,
Stetsasonic,
Dr. Dre and Snoop Doggy Dog,
Juan Atkins,
Lou Reed & John Cale,
Bang on a Can All-Stars,
ABC,
Siglo XX,
Agitation Free,
Godley & Creme,
Zapp,
The Blackbyrds,
De La Soul & Jungle Brothers,
MC5,
Mandrill,
Brass Construction,
Red Lorry Yellow Lorry,
Peter & Gordon,
The Divine Comedy,
Sun City Girls,
Richard Hell and the Voidoids,
Jerry's Kids,
Thee Headcoats,
Quando Quango,
Crispian St. Peters,
Glambeats Corp.,
Masters at Work,
The Victims,
EPMD,
The Offenders,
Bobby Womack,
Camberwell Now,
Steve Hackett,
Teenage Jesus and the Jerks,
Sly & The Family Stone,
Don Cherry,
Popol Vuh,
Vaughan Mason & Crew,
the Human League,
Dave Gahan,
Main Source,
Larry & the Blue Notes,
Au Pairs,
Oppenheimer Analysis,
Fela Kuti,
Aaron Thompson,
Hoover,
Wasted Youth,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.