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 Uzbekistan and from Tokyo.
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 1976.
I'm losing my edge.
To all the kids in Tehran and Mexico City.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 Tropical Tobacco to the crunk 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 Schoolly D. All the underground hits.
All Robert Görl tracks. I heard you have a vinyl of every Jerry Gold Smith 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 '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Lungfish,
CMW,
Susan Cadogan,
The Zeros,
Reuben Wilson,
Panda Bear,
Audionom,
Don Cherry,
Black Moon,
In Retrospect,
The Skatalites,
T.S.O.L.,
Super Lover Cee & Casanova Rud,
Joensuu 1685,
Bobby Sherman,
The United States of America,
The Move,
Graham Central Station,
Pole,
The Barracudas,
Freddie Wadling,
Oblivians,
Rod Modell,
Matthew Bourne,
Delta 5,
Ken Boothe,
Television Personalities,
Darondo,
Joyce Sims,
Technova,
Radiopuhelimet,
The Gun Club,
Aloha Tigers,
The Saints,
B.T. Express,
The Mojo Men,
The Gories,
Monolake,
The Remains,
Ash Ra Tempel,
The Fire Engines,
Liliput,
Neil Young,
Slick Rick,
L. Decosne,
Idris Muhammad,
Sam Rivers,
John Cale,
Curtis Mayfield,
Suburban Knight,
John Lydon,
Terror Squad Feat. Camron,
The Velvet Underground,
Sonic Youth,
Camron Feat. Memphis Bleek And Beenie Seigel,
Easy Going,
Lou Reed & John Cale,
R.M.O.,
Pantaleimon,
Josef K,
Q and Not U,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.