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 Australia and from Philadelphia.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Toronto 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Adolescents to the techno kids.
I played it at Trash.
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 The Zeros. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions 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?
Los Fastidios,
Blossom Toes,
Tres Demented,
the Soft Cell,
Orchestral Manoeuvres in the Dark,
Maurizio,
Kayak,
Cameo,
Babytalk,
Tim Buckley,
David Bowie,
The Toasters,
The Sound,
Robert Wyatt,
Theoretical Girls,
The Neon Judgement,
The Pretty Things,
These Immortal Souls,
The Birthday Party,
Wally Richardson,
The Dirtbombs,
The Alarm Clocks,
Minny Pops,
Pylon,
Black Bananas,
Arthur Verocai,
Gary Puckett & The Union Gap,
Audionom,
Al Stewart,
Royal Trux,
The Move,
JFA,
World's Most,
Sunsets and Hearts,
The Remains,
Freddie Wadling,
Index,
Alphaville,
Iggy Pop,
Ornette Coleman,
Soul II Soul,
The Busters,
The Mighty Diamonds,
David Axelrod,
The Fall,
Aural Exciters,
Tears for Fears,
Eric Dolphy,
Pete Rock & C.L. Smooth,
Harry Pussy,
Thee Headcoats,
Teenage Jesus and the Jerks,
The Martian,
Sun Ra Arkestra,
ABBA,
the Association,
The Knickerbockers,
Dr. Dre and Snoop Doggy Dog,
The Saints,
Magazine,
Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk, Rahsaan Roland Kirk.
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.