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 Chile and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when Tom Verlaine 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 Neil Young 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 Duran Duran. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every Sun City Girls record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Andrew Ashong & Theo Parrish,
Unrelated Segments,
F. McDonald,
Nils Olav,
Gang of Four,
Wasted Youth,
Stetsasonic,
Spandau Ballet,
Joe Smooth,
Severed Heads,
Larry & the Blue Notes,
Guru Guru,
Radiopuhelimet,
Motorama,
Stereo Dub,
The Wake,
Slick Rick,
cv313,
Isaac Hayes,
The Doors,
Terrestrial Tones,
The Blackbyrds,
Wolf Eyes,
The Golliwogs,
Marc Romboy vs. Booka Shade,
Curtis Mayfield,
New Age Steppers,
U.S. Maple,
Siouxsie and the Banshees,
La Düsseldorf,
Sarah Menescal,
Von Mondo,
Altered Images,
Marvin Gaye,
Cybotron,
Davy DMX,
The Slackers,
Lou Christie,
Excepter,
Fluxion,
Pole,
Soul II Soul,
Absolute Body Control,
Dead Boys,
The Smoke,
Black Flag,
Sunsets and Hearts,
Scan 7,
World's Most,
Warren Ellis,
David Bowie,
Erykah Badu,
Boz Scaggs,
The Dave Clark Five,
Basic Channel,
Inner City,
Bizarre Inc.,
Nico,
Slave,
Kerri Chandler,
Eric Copeland,
Sly & The Family Stone,
Mars, Mars, Mars, Mars.
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.