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 Paraguay and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1977.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Mexico City 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 snare 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 Brothers Johnson to the electroclash 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 James White and The Blacks. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
Barbara Tucker,
Young Marble Giants,
Icehouse,
The Mighty Diamonds,
Albert Ayler,
Peter Gordon & Love of Life Orchestra,
Cluster,
Rowland S Howard / Lydia Lunch,
The Beau Brummels,
Anthony Braxton,
Lower 48,
Dead Boys,
FM Einheit,
Yellowson,
Barrington Levy,
Ultra Naté,
Eddi Front,
Ice-T,
Roy Ayers Ubiquity,
Rites of Spring,
Massinfluence,
Nation of Ulysses,
Public Image Ltd.,
The Offenders,
Black Bananas,
A Flock of Seagulls,
Khruangbin,
The Jesus and Mary Chain,
Cal Tjader,
Half Japanese,
Beasts of Bourbon,
Robert Görl,
The Star Department,
Drexciya,
Hardrive,
E-Dancer,
Danielle Patucci,
Bobby Hutcherson,
Spandau Ballet,
Ronnie Foster,
Liaisons Dangereuses,
Traffic Nightmare,
Gang Gang Dance,
Kango’s Stein Massive,
Howard Jones,
Television Personalities,
Sunsets and Hearts,
Jandek,
Country Joe & The Fish,
Aaron Thompson,
The Last Poets,
Aloha Tigers,
Sun City Girls,
Rakim,
Pagans,
The Cramps,
Gong,
Severed Heads,
Rahsaan Roland Kirk,
John Lydon,
Ludus,
Au Pairs,
The Invisible, The Invisible, The Invisible, The Invisible.
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.