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 Belize and from Shanghai.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Salvador and Spokane.
I'm losing my edge to the art-school Bremen 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 L. Decosne to the techno 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 Anthony Braxton. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Chrome 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 '60s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Zeros record.
I hear that you and your band have sold your snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
The Monks,
Jeru the Damaja,
Graham Central Station,
Notorious Big And Bone Thugs,
Big Daddy Kane,
Depeche Mode,
The Evens,
The Selecter,
The Alarm Clocks,
Roy Ayers,
Joensuu 1685,
Kerrie Biddell,
Motorama,
Japan,
Cecil Taylor,
Marc Romboy vs. Booka Shade,
Fort Wilson Riot,
Skriet,
Dawn Penn,
New Age Steppers,
Curtis Mayfield,
The Knickerbockers,
Robert Görl,
Hardrive,
Gerry Rafferty,
Sarah Menescal,
Yaz,
Fatback Band,
Andrew Ashong & Theo Parrish,
The Human League,
Crime,
Roxette,
Q65,
The Fire Engines,
Quando Quango,
Ludus,
Archie Shepp,
The Skatalites,
Roxy Music,
The Happenings,
the Swans,
Bobby Sherman,
Cabaret Voltaire,
The Five Americans,
Sad Lovers and Giants,
Outsiders,
Livin' Joy,
Dorothy Ashby,
Supertramp,
Urselle,
Crispian St. Peters,
The Move,
The New Christs,
Pharaoh Sanders and the Fire Engines,
Terror Squad Feat. Camron,
Joyce Sims,
MDC,
John Lydon,
Peter and Kerry,
Technova, Technova, Technova, Technova.
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.