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 Mauritius 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 1960 to 1973.
I'm losing my edge.
To all the kids in Salvador and Lagos.
I'm losing my edge to the art-school Houston 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 Chic practice in a loft in New York.
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 Nick Fraelich to the disco 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 Crash Course in Science. All the underground hits.
All Organ tracks. I heard you have a vinyl of every China Crisis 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
Eden Ahbez,
Glenn Branca,
Lalann,
Kool G Rap & DJ Polo,
The Wake,
The Dead C,
Negative Approach,
Strawberry Alarm Clock,
Intrusion,
KRS-One,
Grey Daturas,
The Moleskins,
Electric Prunes,
Mars,
It's A Beautiful Day,
Ohio Players,
This Heat,
Circle Jerks,
Young Marble Giants,
Cabaret Voltaire,
Sugar Minott,
Radiopuhelimet,
The Smiths,
Public Image Ltd.,
U.S. Maple,
Theoretical Girls,
John Cale,
The Walker Brothers,
Kool Moe Dee,
Gang Starr,
X-102,
Tropical Tobacco,
Avey Tare,
Rosa Yemen,
DeepChord presents Echospace,
John Lydon,
Mad Mike,
The Sound,
Althea and Donna,
Unrelated Segments,
Donald Byrd,
David Axelrod,
The Cosmic Jokers,
Hashim,
Robert Wyatt,
Camron Feat. Jay Z And Juelz,
Barry Ungar,
Sällskapet,
Shuggie Otis,
Livin' Joy,
Jandek,
Bronski Beat,
Jeru the Damaja,
Skaos,
Depeche Mode,
The Fuzztones,
Drexciya,
The Flesh Eaters,
Procol Harum,
the Association,
Country Joe & The Fish,
Fatback Band,
The Young Rascals,
Boredoms, Boredoms, Boredoms, Boredoms.
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.