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 Lithuania and from Accra.
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 Tokyo and Salvador.
I'm losing my edge to the art-school Manila 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 Ubu practice in a loft in Cleveland.
I was working on the güiro 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 The Invisible to the dance 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 Basic Channel. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Negative Approach,
David McCallum,
Bizarre Inc.,
Spandau Ballet,
Radiopuhelimet,
Rufus Thomas,
Letta Mbulu,
Nils Olav,
Zapp,
Eurythmics,
Royal Trux,
Eli Mardock,
Gang Gang Dance,
Gong,
Dead Boys,
The Peanut Butter Conspiracy,
Grandmaster Flash,
Neu!,
Camron Feat. Jay Z And Juelz,
The American Breed,
Porter Ricks,
H. Thieme,
Ludus,
Malaria!,
Andrew Ashong & Theo Parrish,
The Motions,
Bob Dylan,
James Chance & The Contortions,
John Holt,
Radiohead,
The Music Machine,
The Saints,
Depeche Mode,
The United States of America,
Can,
Minnie Riperton,
Fort Wilson Riot,
Manfred Mann's Earth Band,
Vainqueur,
Ohio Players,
the Association,
Don Cherry,
Heavy D & The Boyz,
The Cramps,
New York Dolls,
Cabaret Voltaire,
Anakelly,
Throbbing Gristle,
Absolute Body Control,
Parry Music,
Jeff Mills,
The Human League,
The Searchers,
Sunsets and Hearts,
Skriet,
Unrelated Segments,
The Doobie Brothers,
Bauhaus,
John Foxx,
The Invisible,
Fugazi,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.