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 Madrid.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Columbus 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay 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 Count Five to the dance kids.
I played it at Cafe Wha.
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 Barbara Tucker. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal rock 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 a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Model 500,
Gerry Rafferty,
Rhythim Is Rhythim,
Nas,
In Retrospect,
Wally Richardson,
Lakeside,
L. Decosne,
The Fire Engines,
Juan Atkins,
The Five Americans,
This Heat,
Hot Snakes,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rosa Yemen,
Lou Christie,
Spoonie Gee,
Byron Stingily,
London Community Gospel Choir,
Rekid,
Guru Guru,
John Lydon,
the Association,
The Cramps,
Vladislav Delay,
Underground Resistance,
Dawn Penn,
The Gap Band,
Jeff Mills,
Mr. Review,
Bootsy Collins,
Lonnie Liston Smith,
Scrapy,
Johnny Clarke,
AZ,
Harpers Bizarre,
Roxette,
Crime,
Gang Green,
Maleditus Sound,
Cymande,
Bang On A Can,
Bad Manners,
Oneida,
Zapp,
Rufus Thomas,
New Order,
Chris Corsano,
Young Marble Giants,
Clear Light,
DNA,
Sun Ra,
Peter and Kerry,
Jacob Miller,
kango's stein massive,
John Cale,
Deepchord,
Andrew Hill,
Avey Tare & Kría Brekkan,
Camouflage,
Ice-T, Ice-T, Ice-T, Ice-T.
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.