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 Marshall Islands and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tehran and Manchester.
I'm losing my edge to the art-school Sao Paulo 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 Danielle Patucci to the punk kids.
I played it at the 40 Watt.
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 Mars. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every David McCallum 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Jawbox,
Flash Fearless,
Mary Jane Girls,
Althea and Donna,
David McCallum,
Circle Jerks,
The Move,
Davy DMX,
Tommy Roe,
Teenage Jesus and the Jerks,
Rod Modell,
Ornette Coleman,
a-ha,
Mantronix,
The Offenders,
Ash Ra Tempel,
Josef K,
Blake Baxter,
The Litter,
Kango’s Stein Massive,
Scion,
Boredoms,
Boz Scaggs,
Yellowson,
Gichy Dan,
The Moody Blues,
the Soft Cell,
Throbbing Gristle,
Kevin Saunderson,
Black Moon,
Soulsonic Force,
Pharaoh Sanders and the Fire Engines,
the Slits,
Super Lover Cee & Casanova Rud,
Kas Product,
Slick Rick,
Colin Newman,
Arthur Verocai,
Charles Mingus,
Radio Birdman,
Sixth Finger,
Ohio Players,
Simply Red,
Zapp,
Avey Tare & Kría Brekkan,
Oneida,
Infiniti,
Fat Boys,
Wighnomy Brothers & Robag Wruhme,
Röyhkä ja Rättö ja Lehtisalo,
Dead Boys,
The Monochrome Set,
The Seeds,
The Black Dice,
Lonnie Liston Smith,
Terry Callier,
Spandau Ballet,
Heavy D & The Boyz,
Lou Reed & John Cale,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.