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 Brazil 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 1962 to 1972.
I'm losing my edge.
To all the kids in Beijing and Woodstock.
I'm losing my edge to the art-school Delhi 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Lou Reed 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 Stockholm Monsters to the techno 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 MC5. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Al Stewart record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harpers Bizarre,
Grandmaster Flash,
Malaria!,
Ultravox,
Negative Approach,
Minutemen,
DJ Style,
Aloha Tigers,
Maleditus Sound,
Lightning Bolt,
Magma,
Sarah Menescal,
Lee Hazlewood,
Q and Not U,
Bob Dylan,
Lindisfarne,
Cameo,
DJ Sneak,
Neu!,
Vaughan Mason & Crew,
Anakelly,
The New Christs,
Sun City Girls,
Kenny Larkin,
Bootsy's Rubber Band,
The Sound,
Marcia Griffiths,
Faraquet,
Kevin Saunderson,
Ultra Naté,
The Trojans,
The Move,
Gang Gang Dance,
The Pretty Things,
Nils Olav,
Stiv Bators,
Ash Ra Tempel,
Sly & The Family Stone,
Hardrive,
Ituana,
the Sonics,
Grey Daturas,
Glenn Branca,
Sun Ra Arkestra,
Smog,
Anthony Braxton,
Eddi Front,
Jerry's Kids,
Ken Boothe,
Country Joe & The Fish,
Judy Mowatt,
Chris & Cosey,
Harry Pussy,
The Smoke,
The Men They Couldn't Hang,
Magazine,
The Pop Group,
The Young Rascals,
Cabaret Voltaire,
Connie Case,
The Associates, The Associates, The Associates, The Associates.
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.