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 Senegal 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 1962 to 1976.
I'm losing my edge.
To all the kids in Madrid and Taipei.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Index to the dance 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 The Pop Group. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Susan Cadogan,
Quantec,
Liaisons Dangereuses,
Pole,
The Residents,
Scrapy,
The Velvet Underground,
James Chance & The Contortions,
The Dirtbombs,
Wire,
Reagan Youth,
Crispian St. Peters,
Das Ding,
DJ Style,
Wasted Youth,
The Evens,
Marc Romboy vs. Booka Shade,
F. McDonald,
Babytalk,
Neu!,
Royal Trux,
Bobby Womack,
Bootsy's Rubber Band,
Motorama,
DNA,
Donald Byrd,
Kauko Röyhkä ja Narttu,
Bill Near,
Ultramagnetic MC's,
The Pop Group,
The Mojo Men,
The Techniques,
Terry Callier,
Sun Ra Arkestra,
Lou Reed & John Cale,
It's A Beautiful Day,
David McCallum,
Lucky Dragons,
K-Klass,
AZ,
OOIOO,
Jeru the Damaja,
Glenn Branca,
The Misunderstood,
Archie Shepp,
Deakin,
Amazonics,
The Dave Clark Five,
Supertramp,
Alison Limerick,
Livin' Joy,
Andrew Hill,
Hardrive,
Lee Hazlewood,
Lindisfarne,
Matthew Halsall,
Albert Ayler,
Quando Quango,
Beasts of Bourbon,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.