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 Moldova and from Woodstock.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Sao Paulo 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 Captain Beefheart 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 K-Klass to the techno kids.
I played it at the Hacienda.
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 Trumans Water. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Chris Corsano record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Jawbox,
Piero Umiliani,
Goldenarms,
Tom Boy,
Gil Scott Heron,
Iggy Pop,
Dark Day,
Lee Hazlewood,
Eric B and Rakim,
Joe Smooth,
The Sonics,
This Heat,
Pussy Galore,
Susan Cadogan,
The Walker Brothers,
Bauhaus,
Jeff Lynne,
The Tremeloes,
Delon & Dalcan,
Sun Ra,
Echo & the Bunnymen,
Jesper Dahlback,
Cecil Taylor,
Black Moon,
The Doors,
AZ,
Mars,
the Germs,
Los Fastidios,
Ponytail,
Shuggie Otis,
Joe Finger,
Ken Boothe,
Arab on Radar,
Frankie Knuckles,
Fifty Foot Hose,
Strawberry Alarm Clock,
Gong,
Lonnie Liston Smith,
Bobby Byrd,
Eli Mardock,
Alison Limerick,
The Count Five,
Sparks,
Scrapy,
Heaven 17,
Zero Boys,
Moss Icon,
Malaria!,
James Chance & The Contortions,
Delta 5,
Fugazi,
Gang of Four,
The Leaves,
ABBA,
Charles Mingus,
48th St. Collective,
Y Pants,
Vladislav Delay,
Freddie Wadling,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.