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 Mongolia and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Saccharine Trust to the grime 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 Andrew Hill. All the underground hits.
All Panda Bear tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal dance 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lightning Bolt,
Half Japanese,
Rapeman,
Kings Of Tomorrow,
Hardrive,
The Fugs,
the Fania All-Stars,
Larry & the Blue Notes,
Desert Stars,
Marc Romboy vs. Booka Shade,
Kerri Chandler,
Das Ding,
The Angels of Light,
Soft Cell,
The Sisters of Mercy,
Con Funk Shun,
Bootsy's Rubber Band,
John Holt,
Alice Coltrane,
Peter Gordon & Love of Life Orchestra,
Pete Rock & C.L. Smooth,
Peter and Kerry,
The Gories,
Bobby Sherman,
Avey Tare & Kría Brekkan,
Massinfluence,
Country Teasers,
Maurizio,
cv313,
Bluetip,
Ken Boothe,
Mars,
Alison Limerick,
Mr. Review,
Yusef Lateef,
Bobby Womack,
Delon & Dalcan,
Archie Shepp,
Lower 48,
Mad Mike,
Chris Corsano,
Mark Hollis,
Model 500,
Au Pairs,
The Blackbyrds,
Rod Modell,
Strawberry Alarm Clock,
The West Coast Pop Art Experimental Band,
Beasts of Bourbon,
Cabaret Voltaire,
The Pretty Things,
Severed Heads,
Rotary Connection,
Fort Wilson Riot,
Patti Smith,
Grandmaster Flash,
Roger Hodgson,
The Wake,
Big Daddy Kane,
World's Most,
Ituana,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.