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 Germany and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1971.
I'm losing my edge.
To all the kids in Cairo and Houston.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin 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 Gabor Szabo to the punk kids.
I played it at Trash.
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 Ronnie Foster. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every The Motions 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Human League,
Spandau Ballet,
Avey Tare,
Essential Logic,
Connie Case,
Hot Snakes,
Flash Fearless,
Arab on Radar,
Country Joe & The Fish,
The Cramps,
Scrapy,
The Busters,
U.S. Maple,
Johnny Osbourne,
June Days,
Harpers Bizarre,
Metal Thangz,
Ronan,
Tears for Fears,
Andrew Hill,
Mr. Review,
Whodini,
Louis and Bebe Barron,
The Alarm Clocks,
Flamin' Groovies,
Marcia Griffiths,
Half Japanese,
Traffic Nightmare,
Sarah Menescal,
The Moody Blues,
Bauhaus,
Crooked Eye,
The Zeros,
H. Thieme,
10cc,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sam Rivers,
The Doobie Brothers,
Arcadia,
The Move,
The Selecter,
Roy Ayers Ubiquity,
Malaria!,
The Black Dice,
The Star Department,
Gong,
Cecil Taylor,
The Modern Lovers,
Crispy Ambulance,
Bronski Beat,
The Searchers,
The Skatalites,
Bill Near,
The Real Kids,
The Durutti Column,
Wire,
Cymande,
Vainqueur,
Pere Ubu,
Rod Modell,
Carl Craig,
Gregory Isaacs,
Zero Boys, Zero Boys, Zero Boys, Zero Boys.
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.