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 United Kingdom and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 Bologna and Philadelphia.
I'm losing my edge to the art-school Calgary 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Niagra to the electroclash 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 Sandy B. All the underground hits.
All Sad Lovers and Giants tracks. I heard you have a vinyl of every Gregory Isaacs 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
The Count Five,
The Red Krayola,
Parry Music,
Lou Reed,
Dorothy Ashby,
The Fuzztones,
Dawn Penn,
Amon Düül,
Ultimate Spinach,
Maurizio,
Beasts of Bourbon,
Be Bop Deluxe,
Eyeless In Gaza,
Erasure,
Funkadelic,
the Sonics,
Wire,
Rhythim Is Rhythim,
Roger Hodgson,
Sugar Minott,
The Neon Judgement,
Black Moon,
Yusef Lateef,
Teenage Jesus and the Jerks,
Model 500,
Ultra Naté,
The Gories,
Kevin Saunderson,
The Sound,
De La Soul & Jungle Brothers,
Shuggie Otis,
The Golliwogs,
Cheater Slicks,
The United States of America,
The Kinks,
Wasted Youth,
Scion,
Bauhaus,
Little Man,
This Heat,
Goldenarms,
Mars,
Visionaries,LMNO, T- Love & Iriscience,
Girls At Our Best!,
Mark Hollis,
Animal Collective,
Ajijia Myrayebe,
DeepChord presents Echospace,
AZ,
Neu!,
Funky Four + One,
Al Stewart,
Ossler,
Notorious Big And Bone Thugs,
the Germs,
Art Ensemble Of Chicago,
Kayak,
James Chance & The Contortions,
Ice-T,
Zapp,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.