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 Paraguay and from Woodstock.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
I'm losing my edge to the art-school Portland 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes 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 Talk Talk to the jazz kids.
I played it at the Troubador.
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 Cecil Taylor. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every AZ 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
La Düsseldorf,
Bob Dylan,
The Cure,
Fad Gadget,
Funky Four + One,
Royal Trux,
Masters at Work,
The Evens,
Tres Demented,
Moss Icon,
Massinfluence,
Nils Olav,
Patti Smith,
Delta 5,
Silicon Teens,
Lyres,
The Fugs,
Radio Birdman,
The Gap Band,
The Offenders,
Sonic Youth,
Infiniti,
Rapeman,
Ponytail,
Crash Course in Science,
The Dirtbombs,
Mad Mike,
Dead Boys,
Arcadia,
Black Sheep,
Gian Franco Pienzio,
Robert Görl,
Bobby Hutcherson,
The Neon Judgement,
Jacques Brel,
Bill Wells,
H. Thieme,
The Litter,
The Zeros,
Skriet,
Kool Moe Dee,
Skarface,
PIL,
Fat Boys,
Lightning Bolt,
Davy DMX,
48th St. Collective,
Kango’s Stein Massive,
David Bowie,
Sandy B,
Flipper,
The Moody Blues,
Notorious Big And Bone Thugs,
The Music Machine,
the Germs,
Juan Atkins,
Model 500,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.