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 Kyrgyzstan and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Notorious Big And Bone Thugs to the grime kids.
I played it at the 40 Watt.
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 Q65. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Gil Scott-Heron & Brian Jackson,
Radiopuhelimet,
Bob Dylan,
the Fania All-Stars,
Make Up,
Desert Stars,
Crispy Ambulance,
Radio Birdman,
Aloha Tigers,
Monks,
Wasted Youth,
Easy Going,
the Sonics,
Yellowson,
Bobby Hutcherson,
Section 25,
Fifty Foot Hose,
Sister Nancy,
Cameo,
John Lydon,
Bang on a Can All-Stars,
Lalo Schifrin,
Röyhkä ja Rättö ja Lehtisalo,
Bronski Beat,
The Sonics,
John Holt,
Mark Hollis,
Flamin' Groovies,
Deepchord,
Unrelated Segments,
The Names,
The Cure,
Goldenarms,
Derrick May,
Pylon,
Tubeway Army,
The Cosmic Jokers,
Model 500,
Fort Wilson Riot,
The Real Kids,
Ice-T,
The Sound,
Brand Nubian,
Lafayette Afro Rock Band,
Mad Mike,
The Wake,
Index,
Japan,
Severed Heads,
Procol Harum,
Todd Terry,
The Walker Brothers,
Alice Coltrane,
Depeche Mode,
Minny Pops,
Letta Mbulu,
Ohio Players,
Neu!,
The Standells,
Kenny Larkin,
Khruangbin,
Laurel Aitken,
Oneida, Oneida, Oneida, Oneida.
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.