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 Laos and from Toronto.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Milan.
I'm losing my edge to the art-school New York 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 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 Kas Product to the funk 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 Janne Schatter. All the underground hits.
All Mo-Dettes tracks. I heard you have a vinyl of every Ultra Naté record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
The Techniques,
Johnny Clarke,
Skriet,
OOIOO,
Heaven 17,
Rapeman,
Gian Franco Pienzio,
Swell Maps,
Kas Product,
Bootsy Collins,
Yaz,
Alton Ellis,
Ohio Players,
The Sound,
Toni Rubio,
The Skatalites,
Dead Boys,
Liliput,
Das Ding,
The Doobie Brothers,
Saccharine Trust,
Visage,
Skaos,
Charles Mingus,
Derrick May,
Camouflage,
The American Breed,
Beasts of Bourbon,
Severed Heads,
John Holt,
Moss Icon,
Little Man,
The Music Machine,
Rufus Thomas,
Symarip,
Scott Walker,
Fela Kuti,
UT,
The Cowsills,
Chris & Cosey,
Marvin Gaye,
Scott Walker + Sunn O))),
Roy Ayers Ubiquity,
Malaria!,
The Zeros,
the Soft Cell,
Tears for Fears,
Magma,
Index,
Yellowson,
Quando Quango,
Swans,
T. Rex,
Aloha Tigers,
Subhumans,
The Smoke,
Eric Copeland,
Crash Course in Science,
Animal Collective,
Gang Green,
Connie Case,
Ultimate Spinach,
Art Ensemble Of Chicago,
The Gories, The Gories, The Gories, The Gories.
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.