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 Beijing.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Tokyo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the theremin 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 The Gap Band to the techno 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 Graham Central Station. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every Marc Almond 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 a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry Gold Smith,
Fluxion,
Warsaw,
Bobby Womack,
Lakeside,
Avey Tare's Slasher Flicks,
Icehouse,
The Dirtbombs,
Arthur Verocai,
Gabor Szabo,
Tears for Fears,
Lou Reed & John Cale,
The New Christs,
Ponytail,
Average White Band,
Symarip,
Fifty Foot Hose,
48th St. Collective,
The Fire Engines,
The Flesh Eaters,
Barry Ungar,
Mary Jane Girls,
Jerry's Kids,
Los Fastidios,
Lebanon Hanover,
The Neon Judgement,
Stetsasonic,
De La Soul & Jungle Brothers,
MDC,
Das Ding,
Lou Reed,
The Golliwogs,
JFA,
Big Daddy Kane,
Subhumans,
Dawn Penn,
Brand Nubian,
Susan Cadogan,
Stereo Dub,
La Düsseldorf,
Flash Fearless,
The Dave Clark Five,
The Star Department,
Chrome,
Scott Walker,
Teenage Jesus and the Jerks,
The Fugs,
Scrapy,
Unwound,
Robert Hood,
Brick,
Lafayette Afro Rock Band,
The Five Americans,
Gil Scott Heron,
The Techniques,
Spandau Ballet,
Make Up,
Animal Collective,
The Leaves,
Skaos,
Outsiders, Outsiders, Outsiders, Outsiders.
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.