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 Equatorial Guinea and from Columbus.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bremen and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar 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 Scan 7 to the rap kids.
I played it at the Crocodile.
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 Organ. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Deepchord 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Byrd 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?
The Busters,
A Flock of Seagulls,
Visage,
Gian Franco Pienzio,
Tommy Roe,
Joey Negro,
Q65,
Technova,
LL Cool J,
Janne Schatter,
Adolescents,
Magazine,
Johnny Clarke,
Heavy D & The Boyz,
Agent Orange,
Marmalade,
Henry Cow,
Deakin,
The J.B.'s,
In Retrospect,
Ash Ra Tempel,
Quadrant,
Nils Olav,
Duran Duran,
Dark Day,
Audionom,
Robert Görl,
Jimmy McGriff,
Fat Boys,
Lower 48,
Kango’s Stein Massive,
Negative Approach,
Albert Ayler,
Kerri Chandler,
The Martian,
Royal Trux,
Crooked Eye,
Nirvana,
Deutsch Amerikanische Freundschaft,
E-Dancer,
Flipper,
Marcia Griffiths,
The Residents,
Yazoo,
Model 500,
Soulsonic Force,
Warren Ellis,
Warsaw,
Ten City,
Godley & Creme,
Skarface,
Bob Dylan,
Roy Ayers,
Kurtis Blow,
Bill Wells,
Stetsasonic,
Scrapy,
Tubeway Army,
Arthur Verocai,
Jeff Lynne,
Camouflage,
Aswad, Aswad, Aswad, Aswad.
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.