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 Korea South and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Hong Kong 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 The Barracudas to the grunge 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 Lower 48. All the underground hits.
All The Wake tracks. I heard you have a vinyl of every Young Marble Giants 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
The Star Department,
Circle Jerks,
MC5,
Echospace,
Nik Kershaw,
The Velvet Underground,
Inner City,
Major Organ And The Adding Machine,
Bootsy's Rubber Band,
Kurtis Blow,
Kool G Rap & DJ Polo,
R.M.O.,
Nation of Ulysses,
Eurythmics,
China Crisis,
Super Lover Cee & Casanova Rud,
Ice-T,
The Cure,
The Divine Comedy,
Kas Product,
Popol Vuh,
Sun Ra Arkestra,
James White and The Blacks,
The Standells,
Drive Like Jehu,
Amon Düül,
Yaz,
Bobby Hutcherson,
Jacques Brel,
Radiohead,
Moss Icon,
Monks,
Jesper Dahlbäck,
Qualms,
Ultramagnetic MC's,
The Skatalites,
The Real Kids,
Aaron Thompson,
Boogie Down Productions,
Oblivians,
Theoretical Girls,
Joyce Sims,
The Doobie Brothers,
Aural Exciters,
Average White Band,
PIL,
Jeru the Damaja,
Animal Collective,
The Busters,
The Offenders,
The Black Dice,
Au Pairs,
Harpers Bizarre,
Faust,
Scratch Acid,
Marc Romboy vs. Booka Shade,
Rhythm & Sound,
the Association,
Joy Division,
Johnny Clarke,
Chris Corsano,
Aswad, Aswad, Aswad, Aswad.
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.