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 Afghanistan and from Bremen.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Columbus.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 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 T. Rex to the punk kids.
I played it at CBGB's.
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 Radiohead. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Desert Stars 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
It's A Beautiful Day,
Mr. Review,
Dorothy Ashby,
Eddi Front,
Al Stewart,
Tom Boy,
Isaac Hayes,
The Smoke,
The Music Machine,
Lalo Schifrin,
Alice Coltrane,
Bootsy Collins,
Hot Snakes,
Agent Orange,
the Soft Cell,
Dave Gahan,
Loose Ends,
John Holt,
Deakin,
Black Pus,
Pharaoh Sanders and the Fire Engines,
Connie Case,
MDC,
Crash Course in Science,
Electric Light Orchestra,
Johnny Osbourne,
Leonard Cohen,
Gong,
Nils Olav,
the Human League,
UT,
Minutemen,
Kevin Saunderson,
Lakeside,
Girls At Our Best!,
Cecil Taylor,
Bluetip,
Camberwell Now,
Interpol,
Flipper,
Rapeman,
Scott Walker + Sunn O))),
Oppenheimer Analysis,
Scientists,
Masters at Work,
Hoover,
The Cure,
Ituana,
The Move,
Guru Guru,
Lonnie Liston Smith,
the Fania All-Stars,
Essential Logic,
Shoche,
Lucky Dragons,
Johnny Clarke,
Japan,
Pierre Henry,
Rahsaan Roland Kirk,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.