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 Guinea and from Woodstock.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Taipei.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Agent Orange to the jazz 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 Aural Exciters. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Radiopuhelimet,
Juan Atkins,
The Skatalites,
Theoretical Girls,
8 Eyed Spy,
Ice-T,
One Last Wish,
K-Klass,
Zero Boys,
Bobby Womack,
Mars,
The Modern Lovers,
Hoover,
Deutsch Amerikanische Freundschaft,
Flash Fearless,
Johnny Clarke,
Crime,
Maleditus Sound,
Yusef Lateef,
Skriet,
Lalann,
Animal Collective,
The Royal Family And The Poor,
Jesper Dahlbäck,
Aaron Thompson,
Connie Case,
Robert Görl,
Country Joe & The Fish,
Sällskapet,
Banda Bassotti,
Sight & Sound,
CMW,
Albert Ayler,
Oppenheimer Analysis,
Saccharine Trust,
Adolescents,
Marvin Gaye,
Pantytec,
Trumans Water,
A Certain Ratio,
Eric B and Rakim,
Television Personalities,
Kool G Rap & DJ Polo,
Nils Olav,
Pylon,
Bobby Byrd,
Gian Franco Pienzio,
The Pretty Things,
Captain Beefheart & His Magic Band,
The Black Dice,
Pet Shop Boys,
Lee Hazlewood,
Bill Wells,
Pierre Henry,
Tom Boy,
Peter and Kerry,
Bobby Sherman,
Eurythmics,
the Swans,
Gabor Szabo,
Lower 48,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.