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 Peru and from Salvador.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Symarip to the punk 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 Camberwell Now. All the underground hits.
All Camouflage tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Marmalade,
Scratch Acid,
Television,
Aaron Thompson,
Half Japanese,
Frankie Knuckles,
JFA,
Lou Reed,
Joyce Sims,
Wings,
The Doors,
Sixth Finger,
Public Image Ltd.,
Shoche,
Mark Hollis,
Delta 5,
Alice Coltrane,
The Five Americans,
Ajijia Myrayebe,
Derrick Morgan,
Grauzone,
Boredoms,
The Barracudas,
Pylon,
Bill Near,
Ossler,
Scan 7,
Swans,
Howard Jones,
The West Coast Pop Art Experimental Band,
Charles Mingus,
Lakeside,
The Associates,
Lower 48,
The Young Rascals,
The Fire Engines,
X-102,
Idris Muhammad,
Bobbi Humphrey,
cv313,
EPMD,
Bootsy's Rubber Band,
David Axelrod,
KRS-One,
Royal Trux,
Niagra,
Spoonie Gee,
The Cure,
The American Breed,
Liliput,
Jacob Miller,
Index,
F. McDonald,
A Certain Ratio,
Nick Cave & The Bad Seeds,
Flamin' Groovies,
Susan Cadogan,
The Techniques,
Eli Mardock,
The Grass Roots,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.