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 El Salvador and from Paris.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Edmonton.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Tom Verlaine 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 MC5 to the disco kids.
I played it at CBGB's.
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 Carl Craig. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
JFA,
Hoover,
The Vogues,
Henry Cow,
Shoche,
Blossom Toes,
Terry Callier,
The Fuzztones,
Alphaville,
Harry Pussy,
Traffic Nightmare,
The Birthday Party,
Brick,
Joyce Sims,
Cecil Taylor,
Tom Boy,
Y Pants,
Rod Modell,
Johnny Osbourne,
Althea and Donna,
DeepChord presents Echospace,
Little Man,
Dual Sessions,
Kevin Saunderson,
Make Up,
Main Source,
Sun Ra Arkestra,
Manfred Mann's Earth Band,
The Move,
Sandy B,
DNA,
Wire,
Jacques Brel,
Quando Quango,
Soul Sonic Force,
AZ,
X-101,
Das Ding,
Amon Düül II,
Marc Almond,
Talk Talk,
Larry & the Blue Notes,
Toni Rubio,
48th St. Collective,
Black Flag,
David Bowie,
Pharaoh Sanders and the Fire Engines,
Sam Rivers,
The Litter,
Eric B and Rakim,
The Real Kids,
Scion,
Peter Gordon & Love of Life Orchestra,
Siglo XX,
Byron Stingily,
Funky Four + One,
Ken Boothe,
Todd Rundgren,
The Fortunes,
Lakeside,
Cameo,
Lonnie Liston Smith,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.