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 France and from Columbus.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Tehran 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 Oneida to the rock 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 Nas. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Mandrill,
Negative Approach,
Todd Rundgren,
The Black Dice,
Mary Jane Girls,
The Music Machine,
Jandek,
The Peanut Butter Conspiracy,
Soft Machine,
Sun Ra,
Sex Pistols,
The Residents,
Sister Nancy,
Eve St. Jones,
The Litter,
Country Joe & The Fish,
Liliput,
Bobby Byrd,
Brand Nubian,
Black Sheep,
Eurythmics,
Henry Cow,
Technova,
Kings Of Tomorrow,
Althea and Donna,
Notorious Big And Bone Thugs,
Tom Boy,
E-Dancer,
Traffic Nightmare,
Pulsallama,
Sandy B,
Davy DMX,
The Velvet Underground,
The Associates,
The Leaves,
Donny Hathaway,
Boredoms,
Siouxsie and the Banshees,
Simply Red,
The Dave Clark Five,
The United States of America,
Masters at Work,
Orchestral Manoeuvres in the Dark,
Kauko Röyhkä ja Narttu,
Los Fastidios,
Bronski Beat,
AZ,
Bobbi Humphrey,
EPMD,
La Düsseldorf,
Beasts of Bourbon,
Strawberry Alarm Clock,
the Bar-Kays,
Public Enemy,
Maleditus Sound,
The Alarm Clocks,
Boz Scaggs,
Blossom Toes,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.