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 Papua New Guinea and from Tehran.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1964 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Seoul 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 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 Big Daddy Kane to the dance kids.
I played it at the Spitz.
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 Wasted Youth. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
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 Neil Young & Crazy Horse record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Organ,
Animal Collective,
Mandrill,
Lucky Dragons,
Pharaoh Sanders and the Fire Engines,
Urselle,
Faraquet,
Surgeon,
Supertramp,
OOIOO,
Rod Modell,
Big Daddy Kane,
Von Mondo,
Kango’s Stein Massive,
Siouxsie and the Banshees,
The Gladiators,
Peter and Kerry,
Hoover,
Minnie Riperton,
R.M.O.,
The Fugs,
The Count Five,
Ash Ra Tempel,
Eric Dolphy,
Sarah Menescal,
Rufus Thomas,
Warsaw,
Toni Rubio,
Nik Kershaw,
Louis and Bebe Barron,
The Modern Lovers,
MC5,
Eric Copeland,
Camron Feat. Memphis Bleek And Beenie Seigel,
Throbbing Gristle,
Teenage Jesus and the Jerks,
Quando Quango,
Stetsasonic,
The Angels of Light,
Vaughan Mason & Crew,
Connie Case,
Visage,
Theoretical Girls,
The Flesh Eaters,
Liliput,
MDC,
Letta Mbulu,
The Sonics,
Stereo Dub,
Second Layer,
The Names,
Reagan Youth,
Bootsy's Rubber Band,
Hot Snakes,
Lafayette Afro Rock Band,
Suicide,
The Fortunes,
The Buckinghams,
The Music Machine,
The Victims,
Gang Starr,
the Swans, the Swans, the Swans, the Swans.
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.