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 Turkmenistan and from London.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Tokyo and New York.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 X-102 to the electroclash kids.
I played it at the Roxy.
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 Hoover. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every In Retrospect record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Yaz,
Toni Rubio,
Hot Snakes,
Fort Wilson Riot,
Absolute Body Control,
Jacques Brel,
Neu!,
Brand Nubian,
Crash Course in Science,
Main Source,
Sly & The Family Stone,
Spoonie Gee,
Quando Quango,
Yellowson,
Essential Logic,
Mission of Burma,
Nick Fraelich,
It's A Beautiful Day,
Bang On A Can,
Harpers Bizarre,
cv313,
The Mighty Diamonds,
Roxy Music,
Kerrie Biddell,
Richard Hell and the Voidoids,
Index,
Rahsaan Roland Kirk,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mr. Review,
Mars,
Wally Richardson,
Fad Gadget,
Bush Tetras,
Vainqueur,
Ultra Naté,
Thompson Twins,
Charles Mingus,
The Names,
World's Most,
Electric Prunes,
The Jesus and Mary Chain,
The Flesh Eaters,
The Fortunes,
Amon Düül,
Jerry Gold Smith,
Spandau Ballet,
Camberwell Now,
Don Cherry,
James Chance & The Contortions,
DJ Sneak,
Warsaw,
Sparks,
The Vogues,
The Monochrome Set,
The Gladiators,
Hasil Adkins,
OOIOO,
Brass Construction,
Drexciya, Drexciya, Drexciya, Drexciya.
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.