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 Venezuela and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Woodstock 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 arpeggiator 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 Scott Walker to the grunge 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 Anakelly. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Clear Light 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Yellowson,
A Certain Ratio,
The Remains,
The Slackers,
Marcia Griffiths,
The Human League,
Section 25,
Joe Smooth,
Angels of Light & Akron/Family,
Loose Ends,
Crash Course in Science,
June of 44,
The Dead C,
B.T. Express,
Siouxsie and the Banshees,
the Bar-Kays,
Chris Corsano,
Barclay James Harvest,
Animal Collective,
Interpol,
Unrelated Segments,
The Beau Brummels,
Symarip,
Janne Schatter,
Ornette Coleman,
Eden Ahbez,
The Peanut Butter Conspiracy,
Delta 5,
Oneida,
Roy Ayers,
Swans,
Pantaleimon,
Stockholm Monsters,
Kerrie Biddell,
Flipper,
Sex Pistols,
Underground Resistance,
Captain Beefheart & His Magic Band,
This Heat,
Johnny Osbourne,
The Motions,
Rites of Spring,
The Barracudas,
Johnny Clarke,
Thee Headcoats,
Arab on Radar,
Laurel Aitken,
Scan 7,
Nick Fraelich,
the Swans,
Franke,
Lightning Bolt,
L. Decosne,
Black Sheep,
Ohio Players,
Avey Tare & Kría Brekkan,
Y Pants,
Max Romeo,
Kauko Röyhkä ja Narttu,
Bang On A Can,
Dr. Dre and Snoop Doggy Dog,
Aswad,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.