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 Turkey and from Cairo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Portland.
I'm losing my edge to the art-school Houston 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 Notorious BIG live in Amsterdam to the dance kids.
I played it at the 40 Watt.
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 MC5. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a the Human League record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Gregory Isaacs,
Black Moon,
Glenn Branca,
David McCallum,
Stereo Dub,
Radiohead,
John Lydon,
Mandrill,
Theoretical Girls,
Be Bop Deluxe,
Vaughan Mason & Crew,
Ten City,
Angry Samoans,
a-ha,
Aloha Tigers,
The Gladiators,
Brothers Johnson,
Juan Atkins,
Alison Limerick,
John Foxx,
Bluetip,
Faust,
The Jesus and Mary Chain,
The Divine Comedy,
The J.B.'s,
Agent Orange,
Charles Mingus,
Funky Four + One,
Chris & Cosey,
The Modern Lovers,
Roxy Music,
The Grass Roots,
James White and The Blacks,
Delta 5,
The Evens,
Jeff Mills,
A Certain Ratio,
Goldenarms,
Boogie Down Productions,
Buzzcocks,
Bill Wells,
Aaron Thompson,
Moby Grape,
Metal Thangz,
A Flock of Seagulls,
Magma,
Maurizio,
Tubeway Army,
Marine Girls,
Easy Going,
the Slits,
Teenage Jesus and the Jerks,
Black Sheep,
Monks,
Minor Threat,
Angels of Light & Akron/Family,
Minutemen,
Livin' Joy,
Kurtis Blow,
The Dead C,
Supertramp, Supertramp, Supertramp, Supertramp.
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.