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 Hungary and from Taipei.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Shanghai.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Country Joe & The Fish to the punk kids.
I played it at the Spitz.
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 The Busters. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every Grandmaster Flash 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick May,
Eric Copeland,
Swans,
The Victims,
Boredoms,
The Birthday Party,
The Zeros,
the Sonics,
Grey Daturas,
Sight & Sound,
Rowland S Howard / Lydia Lunch,
Tears for Fears,
Q65,
Sandy B,
David Bowie,
Don Cherry,
Joe Smooth,
Skaos,
AZ,
The West Coast Pop Art Experimental Band,
Chris Corsano,
Negative Approach,
The Names,
The Durutti Column,
Joyce Sims,
Fluxion,
Infiniti,
EPMD,
James Chance & The Contortions,
Spoonie Gee,
Gian Franco Pienzio,
Ten City,
Yusef Lateef,
Eric B and Rakim,
L. Decosne,
Yellowson,
Clear Light,
Max Romeo,
The American Breed,
Nick Fraelich,
Mandrill,
Dark Day,
June of 44,
Amazonics,
Flipper,
Grandmaster Flash,
Maurizio,
The Peanut Butter Conspiracy,
Con Funk Shun,
Vladislav Delay,
Matthew Halsall,
Dorothy Ashby,
Urselle,
The Jesus and Mary Chain,
Stiv Bators,
Unrelated Segments,
Marc Romboy vs. Booka Shade,
a-ha,
Heaven 17,
Pere Ubu,
Sarah Menescal, Sarah Menescal, Sarah Menescal, Sarah Menescal.
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.