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 Barbados and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1979.
I'm losing my edge.
To all the kids in London and Glasgow.
I'm losing my edge to the art-school Paris 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Kas Product to the dance 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 Hoover. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Gian Franco Pienzio record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
World's Most,
Grandmaster Flash,
Bobby Hutcherson,
Groovy Waters,
Marvin Gaye,
Delon & Dalcan,
Funky Four + One,
The Index,
Jacques Brel,
The Remains,
Avey Tare & Kría Brekkan,
This Heat,
Minutemen,
Pharoah Sanders,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Camouflage,
R.M.O.,
the Sonics,
The Happenings,
Stiv Bators,
Dorothy Ashby,
Neu!,
K-Klass,
Bootsy's Rubber Band,
The Dave Clark Five,
Joyce Sims,
Amazonics,
Essential Logic,
Liaisons Dangereuses,
Bluetip,
Skarface,
Desert Stars,
Justin Hinds & The Dominoes,
The Walker Brothers,
Marshall Jefferson,
Funkadelic,
Pylon,
Archie Shepp,
Mars,
The Cosmic Jokers,
Rufus Thomas,
Mandrill,
Man Eating Sloth,
Gang of Four,
L. Decosne,
Buzzcocks,
Ludus,
KRS-One,
Glenn Branca,
Interpol,
Rahsaan Roland Kirk,
the Human League,
Red Lorry Yellow Lorry,
Ossler,
The Searchers,
Soft Machine,
Kings Of Tomorrow,
Clear Light,
Young Marble Giants,
Skaos,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.