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 Honduras and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
I'm losing my edge to the art-school New York 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Jacques Brel to the funk kids.
I played it at the Crocodile.
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 Ten City. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal dance 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 a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
The Men They Couldn't Hang,
Suicide,
Louis and Bebe Barron,
The Fall,
Hardrive,
Spoonie Gee,
the Soft Cell,
Tears for Fears,
the Human League,
Sunsets and Hearts,
Gichy Dan,
The Associates,
The Names,
Danielle Patucci,
Lightning Bolt,
Banda Bassotti,
DeepChord presents Echospace,
The Slits,
Camron Feat. Memphis Bleek And Beenie Seigel,
DNA,
the Association,
KRS-One,
The Gap Band,
Wire,
cv313,
Ultimate Spinach,
Selector Dub Narcotic,
The Remains,
Byron Stingily,
Sparks,
Moby Grape,
Jerry's Kids,
The Busters,
Swell Maps,
AZ,
the Fania All-Stars,
The Doors,
The Alarm Clocks,
Tres Demented,
Tom Boy,
Boz Scaggs,
Roxy Music,
Masters at Work,
Bronski Beat,
Black Moon,
Guru Guru,
Josef K,
Marcia Griffiths,
Ornette Coleman,
The Golliwogs,
Avey Tare & Kría Brekkan,
Nick Fraelich,
Gil Scott-Heron & Brian Jackson,
Bush Tetras,
MDC,
Janne Schatter,
Juan Atkins,
Echo & the Bunnymen,
Marmalade,
Bluetip,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.