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 Lesotho and from Sao Paulo.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Portland and Bremen.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare 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 Lou Reed & John Cale to the funk 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 Lou Reed & John Cale. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Lou Reed & John Cale record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Rosa Yemen record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Alarm Clocks,
The Last Poets,
Danielle Patucci,
Japan,
Suburban Knight,
Bobby Hutcherson,
Maurizio,
H. Thieme,
Toni Rubio,
The Kinks,
Bobbi Humphrey,
Be Bop Deluxe,
Junior Murvin,
Rapeman,
the Association,
Brand Nubian,
UT,
Albert Ayler,
The Beau Brummels,
Lungfish,
Gang Gang Dance,
Aloha Tigers,
Porter Ricks,
Matthew Halsall,
D'Angelo,
The Durutti Column,
Shuggie Otis,
X-Ray Spex,
Neil Young & Crazy Horse,
Altered Images,
Delta 5,
Jesper Dahlbäck,
Bush Tetras,
Flipper,
Bobby Sherman,
Gabor Szabo,
Art Ensemble Of Chicago,
The Sisters of Mercy,
Eric Copeland,
The Men They Couldn't Hang,
Chris & Cosey,
The Skatalites,
Magazine,
The Pop Group,
The Blackbyrds,
Crooked Eye,
The Cowsills,
kango's stein massive,
PIL,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gang Green,
Eddi Front,
Rotary Connection,
Motorama,
Carl Craig,
Warsaw,
The Mummies,
Essential Logic,
the Germs,
Ultramagnetic MC's,
Shoche,
Television,
Brothers Johnson,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.