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 Gambia and from Spokane.
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 1978.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Copenhagen 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 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 Eden Ahbez to the rock kids.
I played it at CBGB's.
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 The Star Department. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Hashim,
Dead Boys,
The Zeros,
ABC,
The Doobie Brothers,
Ten City,
The Invisible,
New York Dolls,
Soft Machine,
Crash Course in Science,
Johnny Osbourne,
The Fuzztones,
Laurel Aitken,
Y Pants,
Symarip,
The Velvet Underground,
DNA,
Angels of Light & Akron/Family,
Arthur Verocai,
Matthew Bourne,
The Gories,
Dave Gahan,
the Human League,
Freddie Wadling,
Dr. Dre and Snoop Doggy Dog,
The Names,
The Skatalites,
The Pretty Things,
Siouxsie and the Banshees,
The Techniques,
Audionom,
Accadde A,
Kas Product,
Pharoah Sanders,
Barrington Levy,
John Cale,
Amazonics,
Tim Buckley,
Lafayette Afro Rock Band,
Alice Coltrane,
The Leaves,
The Victims,
Ossler,
Popol Vuh,
The Grass Roots,
Be Bop Deluxe,
Dark Day,
The Pop Group,
Hardrive,
Byron Stingily,
Underground Resistance,
Harmonia,
the Normal,
These Immortal Souls,
Minny Pops,
Beasts of Bourbon,
Robert Görl,
Fear,
The Walker Brothers,
Brothers Johnson,
The Happenings, The Happenings, The Happenings, The Happenings.
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.