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 Bolivia and from Lagos.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Sao Paulo 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 1978 at the first Visage 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 Hoover to the dance 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 Theoretical Girls. All the underground hits.
All Mantronix tracks. I heard you have a vinyl of every Moby Grape 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 808 and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Zeros,
Oppenheimer Analysis,
Au Pairs,
Stockholm Monsters,
Model 500,
Danielle Patucci,
The Modern Lovers,
The Residents,
Jeff Mills,
Toni Rubio,
Albert Ayler,
Scion,
Bizarre Inc.,
PIL,
The Slackers,
John Lydon,
Soul Sonic Force,
London Community Gospel Choir,
Los Fastidios,
Sarah Menescal,
Flamin' Groovies,
The American Breed,
Alice Coltrane,
The Saints,
Jeru the Damaja,
Sight & Sound,
Eli Mardock,
The Peanut Butter Conspiracy,
Bobbi Humphrey,
Lindisfarne,
Tears for Fears,
Fatback Band,
Pussy Galore,
Can,
World's Most,
Be Bop Deluxe,
Lonnie Liston Smith,
New York Dolls,
Bobby Byrd,
Sad Lovers and Giants,
Khruangbin,
Lou Reed & John Cale,
Fluxion,
Bobby Womack,
The Sound,
Nas,
Rosa Yemen,
Negative Approach,
The Mojo Men,
The Barracudas,
Liaisons Dangereuses,
The Men They Couldn't Hang,
Yusef Lateef,
The Fugs,
Theoretical Girls,
The Durutti Column,
Major Organ And The Adding Machine,
Boredoms,
Severed Heads,
Davy DMX,
Bootsy's Rubber Band,
The Gladiators,
Monks, Monks, Monks, Monks.
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.