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 Jordan and from Philadelphia.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Shanghai 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Saccharine Trust to the funk kids.
I played it at Trash.
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 Bill Wells. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
It's A Beautiful Day,
Procol Harum,
Boogie Down Productions,
Cal Tjader,
Terrestrial Tones,
Buzzcocks,
Throbbing Gristle,
Aural Exciters,
Mo-Dettes,
Bobbi Humphrey,
Rosa Yemen,
Yusef Lateef,
Amazonics,
Charles Mingus,
Gregory Isaacs,
Boredoms,
Shuggie Otis,
Kerrie Biddell,
Ohio Players,
Schoolly D,
Peter & Gordon,
The Birthday Party,
Blossom Toes,
Siglo XX,
The Men They Couldn't Hang,
Reuben Wilson,
Jesper Dahlback,
Marc Romboy vs. Booka Shade,
Ultra Naté,
Blancmange,
Zapp,
Eddi Front,
Moebius,
Arcadia,
Arab on Radar,
Sunsets and Hearts,
Sun Ra,
Sad Lovers and Giants,
The Associates,
Sex Pistols,
Sarah Menescal,
Strawberry Alarm Clock,
Brand Nubian,
Hot Snakes,
Electric Prunes,
The Doobie Brothers,
Soul II Soul,
Marine Girls,
Bronski Beat,
Maleditus Sound,
Fort Wilson Riot,
Aloha Tigers,
The Fortunes,
Television,
Roxy Music,
Bootsy's Rubber Band,
Kings Of Tomorrow,
Country Teasers,
Althea and Donna,
Suburban Knight,
Mandrill,
Crime, Crime, Crime, Crime.
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.