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 United States and from Stockholm.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Paris 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 Henry Cow to the grunge kids.
I played it at Cafe Wha.
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 a-ha. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Minny Pops 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
Nas,
John Lydon,
Masters at Work,
Pussy Galore,
The Gun Club,
Underground Resistance,
Rakim,
Country Joe & The Fish,
Make Up,
Blake Baxter,
The Detroit Cobras,
Dorothy Ashby,
Essential Logic,
Lou Christie,
Alison Limerick,
World's Most,
The Kinks,
Dead Boys,
Be Bop Deluxe,
Minnie Riperton,
Shoche,
Clear Light,
Banda Bassotti,
Man Eating Sloth,
Gregory Isaacs,
The Blackbyrds,
Circle Jerks,
DJ Style,
Icehouse,
Sarah Menescal,
Beasts of Bourbon,
Reagan Youth,
The Invisible,
Spoonie Gee,
The Grass Roots,
The Mummies,
Cameo,
Lower 48,
Chris Corsano,
Marc Romboy vs. Booka Shade,
Arthur Verocai,
Theoretical Girls,
Harry Pussy,
Robert Hood,
Rotary Connection,
Half Japanese,
Donny Hathaway,
Rhythim Is Rhythim,
The Seeds,
Black Flag,
Second Layer,
Scan 7,
The Red Krayola,
cv313,
Kerrie Biddell,
The Fuzztones,
The Index,
DeepChord presents Echospace,
The Doobie Brothers,
Scientists,
Josef K,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.