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 Angola and from Madrid.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Shanghai and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the arpeggiator 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 Throbbing Gristle to the techno kids.
I played it at the Hacienda.
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 Ludus. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Maleditus Sound 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 '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
James Chance & The Contortions,
Bang On A Can,
The Toasters,
Robert Wyatt,
Smog,
Mary Jane Girls,
Loose Ends,
DNA,
The Associates,
Agent Orange,
Quadrant,
Marvin Gaye,
The Golliwogs,
Gastr Del Sol,
Public Image Ltd.,
Bob Dylan,
Thinking Fellers Union Local 282,
Patti Smith,
Wolf Eyes,
Bobby Sherman,
The Gladiators,
Donald Byrd,
Marcia Griffiths,
Orchestral Manoeuvres in the Dark,
Byron Stingily,
Soft Cell,
Shoche,
Audionom,
The Alarm Clocks,
Japan,
Skaos,
Dr. Dre and Snoop Doggy Dog,
Slick Rick,
Eyeless In Gaza,
Pantytec,
Fat Boys,
Deepchord,
Avey Tare & Kría Brekkan,
The Motions,
Aloha Tigers,
Outsiders,
A Certain Ratio,
Rapeman,
Danielle Patucci,
Cheater Slicks,
Super Lover Cee & Casanova Rud,
Television,
Harpers Bizarre,
Carl Craig,
Pharoah Sanders,
The Barracudas,
Chris & Cosey,
DJ Sneak,
The Cosmic Jokers,
Moss Icon,
The Happenings,
Kevin Saunderson,
Fifty Foot Hose,
Jerry's Kids,
Das Ding,
Rowland S Howard / Lydia Lunch,
X-Ray Spex,
JFA, JFA, JFA, JFA.
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.