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 United Kingdom and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Halifax and Portland.
I'm losing my edge to the art-school Calgary 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 organ sounds with much patience.
I was there when Lou Reed 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 Gabor Szabo to the grunge kids.
I played it at Trash.
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 Hardrive. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Marshall Jefferson,
Davy DMX,
The Names,
Main Source,
John Foxx,
Piero Umiliani,
Country Joe & The Fish,
Kool Moe Dee,
Khruangbin,
Red Lorry Yellow Lorry,
Alison Limerick,
The Kinks,
Gil Scott Heron,
Erasure,
Donald Byrd,
Lakeside,
Alton Ellis,
Nation of Ulysses,
Eyeless In Gaza,
Faust,
Young Marble Giants,
Stetsasonic,
Neil Young & Crazy Horse,
the Soft Cell,
The West Coast Pop Art Experimental Band,
John Lydon,
Babytalk,
Lyres,
Agent Orange,
Amon Düül,
MC5,
The Searchers,
New York Dolls,
Kevin Saunderson,
The Doobie Brothers,
Avey Tare,
Ken Boothe,
Kaleidoscope,
Cluster,
Jawbox,
Panda Bear,
Michelle Simonal,
Tim Buckley,
the Germs,
Wasted Youth,
Model 500,
Quando Quango,
Reagan Youth,
Ajijia Myrayebe,
Oneida,
Underground Resistance,
Marcia Griffiths,
Grandmaster Flash and the Furious Five,
Audionom,
The Golliwogs,
Loose Ends,
Skaos,
Mad Mike,
Ultra Naté,
Ponytail, Ponytail, Ponytail, Ponytail.
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.