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 Malaysia and from Copenhagen.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Outsiders to the disco kids.
I played it at the Spitz.
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 Audionom. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every The Fuzztones record on German import.
I heard that you have a white label of every seminal funk 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 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Q65 record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
The Gap Band,
The New Christs,
Minnie Riperton,
The Barracudas,
David McCallum,
Crooked Eye,
Fifty Foot Hose,
Wolf Eyes,
Pete Rock & C.L. Smooth,
Ultravox,
Excepter,
Idris Muhammad,
Roy Ayers,
Marcia Griffiths,
The Sound,
Mark Hollis,
Bang On A Can,
Man Parrish,
Prince Buster,
Bronski Beat,
Basic Channel,
Siglo XX,
Crispy Ambulance,
Sight & Sound,
Parry Music,
Throbbing Gristle,
Lou Reed & John Cale,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gun Club,
Camberwell Now,
EPMD,
Ronnie Foster,
Kas Product,
Ken Boothe,
Teenage Jesus and the Jerks,
Dave Gahan,
Jerry's Kids,
Scientists,
Yazoo,
Zero Boys,
Wighnomy Brothers & Robag Wruhme,
Tears for Fears,
Malaria!,
China Crisis,
The Motions,
Blossom Toes,
Bobby Womack,
Au Pairs,
Big Daddy Kane,
Darondo,
The Leaves,
Avey Tare's Slasher Flicks,
Faust,
In Retrospect,
Warsaw,
K-Klass,
Section 25,
The Black Dice,
Pere Ubu,
Brick,
Notorious BIG live in Amsterdam,
Shoche, Shoche, Shoche, Shoche.
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.