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 East Timor and from Winnipeg.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Matthew Halsall to the jazz kids.
I played it at the Hacienda.
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 Depeche Mode. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Ossler record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare,
H. Thieme,
Althea and Donna,
Procol Harum,
Hashim,
The Blackbyrds,
Peter Gordon & Love of Life Orchestra,
Fad Gadget,
Thompson Twins,
Gang Green,
Absolute Body Control,
Minny Pops,
Intrusion,
Bronski Beat,
Colin Newman,
John Holt,
Brass Construction,
the Sonics,
Metal Thangz,
Delta 5,
Massinfluence,
Harpers Bizarre,
Gian Franco Pienzio,
Bang On A Can,
Jimmy McGriff,
DNA,
Todd Rundgren,
Sight & Sound,
Adolescents,
Avey Tare & Kría Brekkan,
Clear Light,
Terry Callier,
Warsaw,
The Raincoats,
The West Coast Pop Art Experimental Band,
Crispian St. Peters,
The Shadows of Knight,
Throbbing Gristle,
Joy Division,
The Knickerbockers,
Chris & Cosey,
The Walker Brothers,
The Fuzztones,
The Selecter,
Bobby Womack,
The Sisters of Mercy,
Susan Cadogan,
Cameo,
Eric Dolphy,
Donny Hathaway,
The Music Machine,
Maleditus Sound,
Chrome,
Patti Smith,
Black Sheep,
Joensuu 1685,
CMW,
Bobby Sherman,
Camberwell Now,
Davy DMX,
Black Moon, Black Moon, Black Moon, Black Moon.
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.