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 Czech Republic and from Columbus.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Glasgow.
I'm losing my edge to the art-school Seoul 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Wire to the punk kids.
I played it at Trash.
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 Stetsasonic. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Peter and Kerry 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 a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Crime,
The Doors,
Eric B and Rakim,
Niagra,
Country Joe & The Fish,
Kenny Larkin,
Wings,
PIL,
Sad Lovers and Giants,
Ornette Coleman,
Rapeman,
Ice-T,
The Neon Judgement,
Wire,
Lou Reed,
Icehouse,
48th St. Collective,
Peter and Kerry,
Boogie Down Productions,
Nik Kershaw,
Kerrie Biddell,
The Invisible,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Peter Gordon & Love of Life Orchestra,
Wighnomy Brothers & Robag Wruhme,
Bush Tetras,
Mark Hollis,
The Stooges,
Scrapy,
Barclay James Harvest,
The Peanut Butter Conspiracy,
Mo-Dettes,
Scratch Acid,
Schoolly D,
Godley & Creme,
Average White Band,
Scion,
Public Enemy,
Unrelated Segments,
The Sound,
Chrome,
Rod Modell,
Lonnie Liston Smith,
Black Pus,
Lalann,
The J.B.'s,
Deakin,
The Zeros,
Alison Limerick,
Audionom,
Ash Ra Tempel,
The Dead C,
Andrew Hill,
Marcia Griffiths,
Tears for Fears,
Kings Of Tomorrow,
The Barracudas,
Beasts of Bourbon,
The Blues Magoos,
Todd Terry,
Barbara Tucker,
Jandek,
Grandmaster Flash,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.