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 Guinea and from Manchester.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Glasgow.
I'm losing my edge to the art-school Taipei 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 linndrum 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 The Seeds to the punk kids.
I played it at the Troubador.
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 Depeche Mode. All the underground hits.
All Brick tracks. I heard you have a vinyl of every U.S. Maple 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 linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Soft Cell,
Barrington Levy,
the Bar-Kays,
Amon Düül,
Das Ding,
Cabaret Voltaire,
Louis and Bebe Barron,
World's Most,
Outsiders,
Severed Heads,
Icehouse,
Jawbox,
Marc Almond,
Alison Limerick,
Moss Icon,
Todd Rundgren,
Joe Smooth,
Letta Mbulu,
Rahsaan Roland Kirk,
Jacques Brel,
Joe Finger,
Metal Thangz,
Glambeats Corp.,
JFA,
Bob Dylan,
Aaron Thompson,
Mission of Burma,
The Pretty Things,
Slave,
Fatback Band,
The Fall,
Amon Düül II,
Unrelated Segments,
Stetsasonic,
Nick Cave & The Bad Seeds,
Bobby Sherman,
DeepChord presents Echospace,
Minny Pops,
The Last Poets,
Kool Moe Dee,
The Golliwogs,
Eric Dolphy,
Stereo Dub,
Prince Buster,
The Sisters of Mercy,
The Buckinghams,
The Chocolate Watch Band,
Black Pus,
Byron Stingily,
The Beau Brummels,
The Knickerbockers,
Q65,
Red Lorry Yellow Lorry,
Flamin' Groovies,
Danielle Patucci,
cv313,
Ultra Naté,
Lyres,
Donald Byrd,
Fear,
Colin Newman,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.