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 Trinidad & Tobago and from Tehran.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Mexico City.
I'm losing my edge to the art-school Houston 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 The Vogues to the jazz kids.
I played it at the Astoria.
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 Supertramp. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Wally Richardson,
Barclay James Harvest,
Roy Ayers,
Mandrill,
Bad Manners,
Infiniti,
Qualms,
Royal Trux,
Neil Young,
The Count Five,
It's A Beautiful Day,
Prince Buster,
The Pop Group,
Stereo Dub,
Sun City Girls,
Barrington Levy,
Althea and Donna,
Bush Tetras,
Amon Düül,
The Durutti Column,
Swans,
Vladislav Delay,
Country Joe & The Fish,
Yellowson,
The Monochrome Set,
Frankie Knuckles,
Gil Scott Heron,
Mars,
The Toasters,
Pylon,
PIL,
Ludus,
Lebanon Hanover,
Siouxsie and the Banshees,
DNA,
Mary Jane Girls,
Throbbing Gristle,
Eddi Front,
Camouflage,
Sound Behaviour,
Sam Rivers,
JFA,
T.S.O.L.,
Lee Hazlewood,
Donny Hathaway,
Crime,
Hardrive,
Severed Heads,
Cheater Slicks,
Pantaleimon,
Dark Day,
Black Moon,
Super Lover Cee & Casanova Rud,
Louis and Bebe Barron,
MC5,
Girls At Our Best!,
Liliput,
Hashim,
Gang Gang Dance,
Delta 5, Delta 5, Delta 5, Delta 5.
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.