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 Micronesia and from Glasgow.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Manchester.
I'm losing my edge to the art-school Milan 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 rhodes 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 Dorothy Ashby to the jazz kids.
I played it at the Crocodile.
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 Section 25. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every Little Man record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Absolute Body Control,
Scrapy,
The Saints,
Visage,
The Gun Club,
The Associates,
Traffic Nightmare,
Gastr Del Sol,
Stetsasonic,
Don Cherry,
Henry Cow,
Radiopuhelimet,
The Angels of Light,
Shuggie Otis,
T. Rex,
Mission of Burma,
Oppenheimer Analysis,
Swans,
Scientists,
Lou Reed & Metallica,
Freddie Wadling,
Blancmange,
Jerry Gold Smith,
Dark Day,
The Sonics,
Pere Ubu,
The Durutti Column,
Rites of Spring,
David Bowie,
Ronan,
The Star Department,
Johnny Clarke,
Kenny Larkin,
The Smiths,
Jerry's Kids,
Notorious BIG live in Amsterdam,
Barclay James Harvest,
Wire,
The Dirtbombs,
Glambeats Corp.,
Avey Tare & Kría Brekkan,
Big Daddy Kane,
Lightning Bolt,
Kango’s Stein Massive,
Man Parrish,
Boredoms,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oneida,
The Grass Roots,
Bootsy's Rubber Band,
Talk Talk,
The Mummies,
Lebanon Hanover,
Public Image Ltd.,
Todd Terry,
The Black Dice,
Babytalk,
World's Most,
Rakim,
Tommy Roe,
the Normal,
Ice-T, Ice-T, Ice-T, Ice-T.
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.