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 Finland and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Beijing and Houston.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the marimba 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 Thee Headcoats to the punk kids.
I played it at Trash.
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 Scott Walker. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your theremin and bought a snare.
I hear that you and your band have sold your snare and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Inner City,
Accadde A,
The Blackbyrds,
The Fire Engines,
Barry Ungar,
Scan 7,
The Saints,
Sandy B,
Nick Fraelich,
The Durutti Column,
The Cramps,
Sly & The Family Stone,
Erasure,
Brass Construction,
KRS-One,
Magma,
Public Enemy,
Mark Hollis,
The Birthday Party,
Lucky Dragons,
Oneida,
Boredoms,
London Community Gospel Choir,
Soft Machine,
Big Daddy Kane,
Blake Baxter,
The Slackers,
B.T. Express,
The Cosmic Jokers,
Pharaoh Sanders and the Fire Engines,
the Swans,
Swell Maps,
The Five Americans,
Larry & the Blue Notes,
The Gun Club,
Bobby Sherman,
the Human League,
Jeru the Damaja,
Bootsy Collins,
Dorothy Ashby,
Quando Quango,
Lalo Schifrin,
Cabaret Voltaire,
Soul Sonic Force,
Jandek,
Colin Newman,
a-ha,
Underground Resistance,
The Beau Brummels,
Soulsonic Force,
Ultravox,
Donny Hathaway,
Fear,
The Alarm Clocks,
Rahsaan Roland Kirk,
Jeff Mills,
Gichy Dan,
Neil Young & Crazy Horse,
Gong,
Depeche Mode,
The Walker Brothers,
Ralphi Rosario,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.