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 Syria and from Winnipeg.
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 Beijing and Bremen.
I'm losing my edge to the art-school Delhi 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 the Bar-Kays 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 Althea and Donna. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Blossom Toes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Malaria!,
The Blackbyrds,
Grey Daturas,
Bobby Sherman,
Aaron Thompson,
In Retrospect,
Max Romeo,
Fort Wilson Riot,
Panda Bear,
Gang Gang Dance,
Art Ensemble Of Chicago,
Public Image Ltd.,
Leonard Cohen,
Camouflage,
Black Flag,
The Fortunes,
Amon Düül II,
Stetsasonic,
Godley & Creme,
Boredoms,
Iggy Pop,
Pete Rock & C.L. Smooth,
Lebanon Hanover,
Marc Almond,
Liaisons Dangereuses,
Theoretical Girls,
Fela Kuti,
Aswad,
Harmonia,
Hasil Adkins,
Eric B and Rakim,
Sarah Menescal,
Little Man,
Eyeless In Gaza,
the Soft Cell,
Alton Ellis,
Drexciya,
The Beau Brummels,
The Martian,
Royal Trux,
Dark Day,
Black Bananas,
Cybotron,
Faraquet,
Echo & the Bunnymen,
Ash Ra Tempel,
Kool Moe Dee,
Lucky Dragons,
Toni Rubio,
T.S.O.L.,
the Sonics,
The Skatalites,
Dead Boys,
The Gun Club,
Gian Franco Pienzio,
Howard Jones,
Minnie Riperton,
CMW,
Jesper Dahlbäck,
Delta 5,
Supertramp,
The Sound,
Scion,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.