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 Libya and from Houston.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Seoul and Portland.
I'm losing my edge to the art-school Shanghai 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 808 sounds with much patience.
I was there when Robert Palmer 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 Index to the crunk kids.
I played it at the Crocodile.
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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All MC5 tracks. I heard you have a vinyl of every The American Breed 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
Gian Franco Pienzio,
Stockholm Monsters,
Lou Reed & John Cale,
Deepchord,
Fugazi,
Newcleus,
James White and The Blacks,
Royal Trux,
The Mojo Men,
Soft Cell,
The Velvet Underground,
Public Image Ltd.,
The Kinks,
Stereo Dub,
Howard Jones,
Joyce Sims,
Con Funk Shun,
The Tremeloes,
Avey Tare & Kría Brekkan,
Marc Almond,
Ultramagnetic MC's,
The Jesus and Mary Chain,
Marc Romboy vs. Booka Shade,
Slave,
The Flesh Eaters,
FM Einheit,
A Flock of Seagulls,
AZ,
Shuggie Otis,
Grey Daturas,
Johnny Osbourne,
Y Pants,
New Age Steppers,
EPMD,
The Techniques,
Shoche,
Nico,
Ultimate Spinach,
Q and Not U,
Carl Craig,
Bush Tetras,
Rosa Yemen,
Piero Umiliani,
Yazoo,
Banda Bassotti,
Cymande,
The Victims,
the Fania All-Stars,
Peter and Kerry,
The Monochrome Set,
Scion,
The Beau Brummels,
Sight & Sound,
Negative Approach,
Kerri Chandler,
The J.B.'s,
Max Romeo,
Brass Construction,
Harry Pussy,
June Days,
The Count Five,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.