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 Iran and from Calgary.
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 1978.
I'm losing my edge.
To all the kids in Columbus and Toronto.
I'm losing my edge to the art-school New York 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Alton Ellis 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 New York Dolls. All the underground hits.
All The Cure tracks. I heard you have a vinyl of every Idris Muhammad 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Funky Four + One,
Bang on a Can All-Stars,
Donny Hathaway,
Moby Grape,
Barbara Tucker,
Quantec,
Animal Collective,
Carl Craig,
Nico,
Boz Scaggs,
Henry Cow,
Shoche,
Rosa Yemen,
Howard Jones,
Sonic Youth,
Louis and Bebe Barron,
Wolf Eyes,
Joy Division,
Scrapy,
Eyeless In Gaza,
Second Layer,
Arcadia,
Ossler,
Skriet,
Nick Cave & The Bad Seeds,
Essential Logic,
Dennis Brown,
The J.B.'s,
Mantronix,
Fat Boys,
Josef K,
Swans,
Bang On A Can,
Hot Snakes,
Saccharine Trust,
Gil Scott-Heron & Brian Jackson,
The Velvet Underground,
Barclay James Harvest,
The Slackers,
Clear Light,
June Days,
Janne Schatter,
Faraquet,
Brick,
Kool Moe Dee,
Eli Mardock,
Maleditus Sound,
Mars,
Y Pants,
Alton Ellis,
Hoover,
Frankie Knuckles,
Neil Young,
Country Joe & The Fish,
Gian Franco Pienzio,
Roxy Music,
The Doors,
Johnny Osbourne,
Wings,
A Certain Ratio,
Avey Tare's Slasher Flicks,
Eve St. Jones,
Soulsonic Force, Soulsonic Force, Soulsonic Force, Soulsonic Force.
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.