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 Bangladesh and from Portland.
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 1970.
I'm losing my edge.
To all the kids in Beijing and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 Art of Noise practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 E-Dancer to the rap 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 The Gories. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Con Funk Shun record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Funkadelic,
Chris Corsano,
Avey Tare's Slasher Flicks,
The Smiths,
Mr. Review,
Rowland S Howard / Lydia Lunch,
The Slackers,
Pharoah Sanders,
Blancmange,
Marshall Jefferson,
Derrick Morgan,
John Lydon,
Electric Light Orchestra,
The Flesh Eaters,
Crooked Eye,
Todd Terry,
The Stooges,
Brand Nubian,
One Last Wish,
Soul II Soul,
The Litter,
June Days,
the Association,
Gabor Szabo,
Stetsasonic,
Can,
Scan 7,
Dennis Brown,
Cluster,
Crispy Ambulance,
The Red Krayola,
Chrome,
Judy Mowatt,
Magazine,
The Pop Group,
Spandau Ballet,
Country Joe & The Fish,
Reuben Wilson,
AZ,
Ultra Naté,
Louis and Bebe Barron,
Public Image Ltd.,
8 Eyed Spy,
Stockholm Monsters,
Brick,
The Mummies,
Urselle,
Hasil Adkins,
Angry Samoans,
Cabaret Voltaire,
Marine Girls,
Jandek,
The Royal Family And The Poor,
The Skatalites,
Althea and Donna,
The Cosmic Jokers,
The Searchers,
Dead Boys,
Eurythmics,
Sister Nancy,
Lebanon Hanover,
Little Man,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.