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 Gabon and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 Lyon and Spokane.
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 oboe sounds with much patience.
I was there when Michael McDonald 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 Porter Ricks to the grunge 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 Buzzcocks. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Popol Vuh record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Joy Division,
the Germs,
R.M.O.,
Juan Atkins,
Altered Images,
Althea and Donna,
Visage,
Camron Feat. Memphis Bleek And Beenie Seigel,
Chris & Cosey,
The Birthday Party,
Make Up,
MC5,
Yellowson,
The Smoke,
Be Bop Deluxe,
Shuggie Otis,
Josef K,
Faraquet,
Gang Gang Dance,
James White and The Blacks,
The Angels of Light,
Absolute Body Control,
Bobby Womack,
the Bar-Kays,
Thompson Twins,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Ornette Coleman,
The Monks,
Masters at Work,
Swans,
Aloha Tigers,
Ronnie Foster,
Peter & Gordon,
Severed Heads,
Sonny Sharrock,
Wasted Youth,
Country Joe & The Fish,
June of 44,
Maleditus Sound,
The Human League,
Goldenarms,
The American Breed,
Malaria!,
Bush Tetras,
Lyres,
Anakelly,
New Age Steppers,
The Sound,
Brass Construction,
Technova,
Marcia Griffiths,
Crispy Ambulance,
Kas Product,
Cal Tjader,
Johnny Clarke,
Marc Romboy vs. Booka Shade,
Oppenheimer Analysis,
Kauko Röyhkä ja Narttu,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.