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 Finland 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 1963 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Johannesburg 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 1973 at the first Television practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Skarface to the rap kids.
I played it at the Spitz.
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 Ornette Coleman. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every 48th St. Collective 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Art Ensemble Of Chicago,
Minor Threat,
The New Christs,
Joe Finger,
Boredoms,
Circle Jerks,
Rites of Spring,
Scratch Acid,
Erasure,
Unrelated Segments,
Sun City Girls,
Jimmy McGriff,
Symarip,
Rhythim Is Rhythim,
Bill Wells,
The Litter,
The Gun Club,
Marshall Jefferson,
Dual Sessions,
Carl Craig,
Little Man,
Main Source,
Depeche Mode,
48th St. Collective,
Make Up,
Barclay James Harvest,
Jawbox,
Gang Green,
The Techniques,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
Electric Prunes,
Moebius,
Kerri Chandler,
Duran Duran,
Dr. Dre and Snoop Doggy Dog,
Girls At Our Best!,
Skarface,
Surgeon,
It's A Beautiful Day,
Marc Almond,
Can,
Parry Music,
DJ Sneak,
Ken Boothe,
Nik Kershaw,
Harpers Bizarre,
Crispian St. Peters,
Wire,
Wighnomy Brothers & Robag Wruhme,
Mary Jane Girls,
The Dave Clark Five,
Johnny Clarke,
Prince Buster,
Bad Manners,
The Gap Band,
Agitation Free,
Red Lorry Yellow Lorry,
Dennis Brown,
Eyeless In Gaza,
Pantaleimon,
Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars, Bang on a Can All-Stars.
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.