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 Argentina and from Madrid.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Calgary and Shanghai.
I'm losing my edge to the art-school Seoul 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 Tom Verlaine 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 Black Dice to the crunk 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 La Düsseldorf. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Deakin,
Cecil Taylor,
The American Breed,
Technova,
Stetsasonic,
Neil Young,
Ultravox,
The Cowsills,
Cabaret Voltaire,
Graham Central Station,
A Certain Ratio,
Crispy Ambulance,
Pussy Galore,
Judy Mowatt,
Vaughan Mason & Crew,
Youth Brigade,
Rhythm & Sound,
Blossom Toes,
Steve Hackett,
Blancmange,
Thee Headcoats,
Juan Atkins,
Carl Craig,
Bootsy Collins,
The Music Machine,
Theoretical Girls,
Bizarre Inc.,
Lalo Schifrin,
Soulsonic Force,
Pylon,
CMW,
Sight & Sound,
Spandau Ballet,
Rahsaan Roland Kirk,
The Motions,
Eli Mardock,
Lou Christie,
Yusef Lateef,
The Dave Clark Five,
Oppenheimer Analysis,
Goldenarms,
Tom Boy,
Skarface,
Black Moon,
Minny Pops,
Sugar Minott,
Warsaw,
Suicide,
Deadbeat,
Harry Pussy,
The Real Kids,
Pole,
Duran Duran,
Scion,
Sun City Girls,
Nico,
The Searchers,
Con Funk Shun,
Alphaville,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.