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 Slovenia and from Accra.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Bologna.
I'm losing my edge to the art-school Copenhagen 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 Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Thee Headcoats to the techno 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 Roger Hodgson. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Piero Umiliani,
The Red Krayola,
The Doors,
John Lydon,
Qualms,
Notorious Big And Bone Thugs,
Glambeats Corp.,
Rotary Connection,
Quando Quango,
Index,
the Bar-Kays,
Arthur Verocai,
Bronski Beat,
Yazoo,
Howard Jones,
Bobby Hutcherson,
Grandmaster Flash and the Furious Five,
Chris Corsano,
Gong,
Ronnie Foster,
Inner City,
David Bowie,
Danielle Patucci,
Patti Smith,
Drive Like Jehu,
Guru Guru,
Kevin Saunderson,
The Barracudas,
Subhumans,
The Sonics,
Malaria!,
Joensuu 1685,
Mandrill,
New York Dolls,
Dr. Dre and Snoop Doggy Dog,
The Trojans,
Marc Romboy vs. Booka Shade,
Avey Tare's Slasher Flicks,
The Shadows of Knight,
Gil Scott Heron,
Warsaw,
The Doobie Brothers,
Avey Tare,
Selector Dub Narcotic,
The Real Kids,
Gil Scott-Heron and Jamie xx,
Lungfish,
the Soft Cell,
Accadde A,
Lyres,
Adolescents,
Jesper Dahlbäck,
The Fuzztones,
Harmonia,
Sight & Sound,
Electric Prunes,
Simply Red,
Fat Boys,
Eli Mardock,
Delon & Dalcan,
Roger Hodgson,
Stiv Bators,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.