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 Greece and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Spokane 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 marimba sounds with much patience.
I was there when David Bowie 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 Harpers Bizarre to the jazz kids.
I played it at the Astoria.
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. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
The Peanut Butter Conspiracy,
Leonard Cohen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Archie Shepp,
June Days,
Whodini,
Wire,
Jerry's Kids,
Pantytec,
Bootsy's Rubber Band,
The Cramps,
Monolake,
Guru Guru,
Kaleidoscope,
Qualms,
Dave Gahan,
Loose Ends,
Eyeless In Gaza,
Buzzcocks,
Livin' Joy,
Traffic Nightmare,
Warren Ellis,
Reagan Youth,
Bobbi Humphrey,
Groovy Waters,
Niagra,
Angry Samoans,
Oppenheimer Analysis,
Sad Lovers and Giants,
The Modern Lovers,
Avey Tare's Slasher Flicks,
Dorothy Ashby,
The Red Krayola,
Frankie Knuckles,
Nick Fraelich,
Terror Squad Feat. Camron,
Mad Mike,
Youth Brigade,
Girls At Our Best!,
Gil Scott-Heron and Jamie xx,
The Fall,
Sugar Minott,
Nico,
Main Source,
The Busters,
Harry Pussy,
Goldenarms,
Kango’s Stein Massive,
the Bar-Kays,
Wasted Youth,
Graham Central Station,
Ice-T,
Half Japanese,
Erasure,
Sexual Harrassment,
Intrusion,
Crime,
Chrome,
Audionom,
The Blues Magoos, The Blues Magoos, The Blues Magoos, The Blues Magoos.
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.