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 Ecuador and from Hong Kong.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Toronto 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Cluster to the crunk 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 Judy Mowatt. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Barry Ungar,
Depeche Mode,
Idris Muhammad,
Monolake,
Desert Stars,
Heavy D & The Boyz,
The Martian,
Faust,
Electric Light Orchestra,
Wighnomy Brothers & Robag Wruhme,
James Chance & The Contortions,
Judy Mowatt,
The Seeds,
The Gun Club,
Das Ding,
Shuggie Otis,
Byron Stingily,
the Association,
Camron Feat. Memphis Bleek And Beenie Seigel,
Negative Approach,
Robert Hood,
The Techniques,
Bobbi Humphrey,
The Raincoats,
Mantronix,
kango's stein massive,
Suburban Knight,
Sarah Menescal,
Deadbeat,
Minny Pops,
The Velvet Underground,
Alton Ellis,
Alphaville,
Blake Baxter,
The Invisible,
The Divine Comedy,
Whodini,
A Certain Ratio,
Stiv Bators,
Fluxion,
MDC,
Terry Callier,
Stockholm Monsters,
Bill Near,
Fatback Band,
Gerry Rafferty,
Stereo Dub,
Alice Coltrane,
Magma,
Scott Walker + Sunn O))),
The West Coast Pop Art Experimental Band,
Todd Rundgren,
Mary Jane Girls,
ABBA,
Henry Cow,
the Germs,
EPMD, EPMD, EPMD, EPMD.
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.