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 Senegal and from Mexico City.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Manila and Calgary.
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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Graham Central Station to the jazz 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 Radio Birdman. All the underground hits.
All Mars tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal grunge 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Siouxsie and the Banshees record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Lou Christie,
Donald Byrd,
Sonic Youth,
Drexciya,
Hardrive,
Rhythm & Sound,
Be Bop Deluxe,
Excepter,
Johnny Clarke,
the Fania All-Stars,
Patti Smith,
Chris & Cosey,
Index,
Scratch Acid,
Gian Franco Pienzio,
James White and The Blacks,
Slave,
Gil Scott-Heron & Brian Jackson,
Franke,
The Velvet Underground,
Basic Channel,
The Cure,
Kauko Röyhkä ja Narttu,
Gang Starr,
Gregory Isaacs,
Al Stewart,
John Coltrane,
The Music Machine,
Swans,
Neu!,
Tom Boy,
The Leaves,
X-101,
Interpol,
The Zeros,
Robert Görl,
Hasil Adkins,
Livin' Joy,
Bobby Womack,
Zero Boys,
The Wake,
Bobbi Humphrey,
Ituana,
MDC,
JFA,
Shuggie Otis,
Maleditus Sound,
T. Rex,
Black Bananas,
Roger Hodgson,
Bronski Beat,
The Fuzztones,
the Normal,
Neil Young,
The Vogues,
The Associates,
Junior Murvin,
The Electric Prunes,
The Searchers,
Terrestrial Tones,
The Busters,
Mary Jane Girls,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.