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 Paris.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Beijing.
I'm losing my edge to the art-school Spokane 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 Ubu practice in a loft in Cleveland.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Ludus to the disco 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 Ultra Naté. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Blancmange 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Eden Ahbez,
The Searchers,
The Beau Brummels,
Sad Lovers and Giants,
Thompson Twins,
Youth Brigade,
Ultravox,
Alice Coltrane,
Althea and Donna,
Brand Nubian,
Kenny Larkin,
Major Organ And The Adding Machine,
Los Fastidios,
Half Japanese,
Warren Ellis,
Arthur Verocai,
Pharaoh Sanders and the Fire Engines,
Robert Hood,
Lakeside,
The Walker Brothers,
The Zeros,
The Pop Group,
Minutemen,
Iggy Pop,
Mad Mike,
Monolake,
Beasts of Bourbon,
Louis and Bebe Barron,
The Chocolate Watch Band,
The Mighty Diamonds,
Quando Quango,
Fluxion,
The Standells,
The Count Five,
The Neon Judgement,
Tubeway Army,
Mission of Burma,
The Gladiators,
Rufus Thomas,
The Index,
Prince Buster,
The Sisters of Mercy,
MC5,
Main Source,
the Swans,
Gil Scott Heron,
Chris Corsano,
Camberwell Now,
Fifty Foot Hose,
The Sonics,
Marine Girls,
EPMD,
Oppenheimer Analysis,
The Electric Prunes,
Chris & Cosey,
Stockholm Monsters,
The Techniques,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.