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 Zambia and from Shanghai.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Columbus.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Dave Gahan to the funk kids.
I played it at Cafe Wha.
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 Bill Wells. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Kango’s Stein Massive,
The Pop Group,
Camron Feat. Memphis Bleek And Beenie Seigel,
Max Romeo,
Ken Boothe,
The Walker Brothers,
Das Ding,
Isaac Hayes,
Marine Girls,
The Raincoats,
The Smiths,
The Electric Prunes,
Art Ensemble Of Chicago,
Smog,
Minnie Riperton,
Silicon Teens,
The Move,
Model 500,
Harpers Bizarre,
Section 25,
Hot Snakes,
The Motions,
The Last Poets,
Mad Mike,
Amon Düül II,
Oblivians,
La Düsseldorf,
Chris & Cosey,
Albert Ayler,
Dennis Brown,
The Evens,
Dead Boys,
Roger Hodgson,
Stetsasonic,
The Fire Engines,
Tommy Roe,
Guru Guru,
Fela Kuti,
Magma,
Public Enemy,
Drive Like Jehu,
Depeche Mode,
Sandy B,
Reagan Youth,
The Alarm Clocks,
Chris Corsano,
Eric B and Rakim,
Electric Light Orchestra,
Davy DMX,
Rapeman,
Steve Hackett,
Frankie Knuckles,
Nick Cave & The Bad Seeds,
Hardrive,
A Certain Ratio,
Bronski Beat,
Khruangbin,
Josef K,
K-Klass,
Parry Music,
Oppenheimer Analysis,
Nirvana, Nirvana, Nirvana, Nirvana.
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.