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 Burundi and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Seoul 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 the Germs to the electroclash 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 Chris & Cosey. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin 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?
The Human League,
Circle Jerks,
Bob Dylan,
Rhythm & Sound,
Buzzcocks,
Ash Ra Tempel,
Soul II Soul,
John Foxx,
Blake Baxter,
Eric Copeland,
Michelle Simonal,
Tres Demented,
B.T. Express,
Siglo XX,
Banda Bassotti,
The Walker Brothers,
Soft Machine,
Fela Kuti,
Suburban Knight,
AZ,
the Swans,
The Monks,
The Busters,
Anakelly,
New York Dolls,
The Dirtbombs,
Mad Mike,
Faust,
Slave,
Fad Gadget,
The Misunderstood,
Juan Atkins,
Roxette,
Barrington Levy,
Aural Exciters,
Sister Nancy,
Pantytec,
UT,
Delta 5,
Brand Nubian,
Country Joe & The Fish,
The Dave Clark Five,
Minutemen,
Vaughan Mason & Crew,
Ultra Naté,
June of 44,
Visionaries,LMNO, T- Love & Iriscience,
The Divine Comedy,
The Star Department,
Wings,
The Associates,
The Alarm Clocks,
Scientists,
Pharoah Sanders,
Lalann,
Dead Boys,
Joy Division,
John Coltrane,
Lakeside,
Radiopuhelimet,
Gang Starr,
Saccharine Trust,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.