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 Italy and from Portland.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Parry Music to the techno 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 Minny Pops. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every The Detroit Cobras record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
The Busters,
The Doors,
The Litter,
Minor Threat,
Marvin Gaye,
Interpol,
Bluetip,
Todd Rundgren,
Idris Muhammad,
Lalann,
Isaac Hayes,
The Velvet Underground,
Metal Thangz,
Unwound,
The Count Five,
Warren Ellis,
Parry Music,
Subhumans,
The Slackers,
Ludus,
10cc,
Delon & Dalcan,
Gichy Dan,
Scrapy,
Al Stewart,
Supertramp,
The Skatalites,
Silicon Teens,
Chris Corsano,
Bill Near,
The Move,
Danielle Patucci,
Dawn Penn,
Skarface,
Sandy B,
Art Ensemble Of Chicago,
Young Marble Giants,
The Sonics,
The Cramps,
Lafayette Afro Rock Band,
The Gories,
New York Dolls,
Siglo XX,
T.S.O.L.,
The Dave Clark Five,
MDC,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ken Boothe,
the Germs,
Monolake,
Röyhkä ja Rättö ja Lehtisalo,
Stiv Bators,
Icehouse,
Crime,
Jeru the Damaja,
The Real Kids,
Desert Stars,
the Bar-Kays,
Black Moon,
The Index,
the Human League,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.