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 Ivory Coast and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Stockholm.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the 808 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 Kerrie Biddell to the dance kids.
I played it at Cafe Wha.
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 Fad Gadget. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
The Fall,
Reuben Wilson,
Urselle,
The Dirtbombs,
B.T. Express,
Country Joe & The Fish,
Mr. Review,
Man Parrish,
Crispy Ambulance,
Aural Exciters,
June Days,
Aloha Tigers,
Wighnomy Brothers & Robag Wruhme,
The Star Department,
Nico,
Michelle Simonal,
Lonnie Liston Smith,
Camron Feat. Memphis Bleek And Beenie Seigel,
Icehouse,
Roy Ayers Ubiquity,
The Gladiators,
Pharoah Sanders,
Danielle Patucci,
Soft Machine,
Model 500,
Leonard Cohen,
Essential Logic,
Gong,
Marine Girls,
Be Bop Deluxe,
The Sonics,
ABC,
Crash Course in Science,
Tom Boy,
Sun Ra Arkestra,
Lou Reed,
Larry & the Blue Notes,
The Monochrome Set,
Soul Sonic Force,
Lungfish,
Monolake,
Soul II Soul,
Roxy Music,
Scan 7,
Lebanon Hanover,
The Residents,
The Moleskins,
The Mighty Diamonds,
Groovy Waters,
Sparks,
Trumans Water,
DeepChord presents Echospace,
Fatback Band,
Siglo XX,
Tim Buckley,
Duran Duran,
Unrelated Segments,
Ultimate Spinach,
Gastr Del Sol,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.