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 El Salvador and from Paris.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Glasgow and Paris.
I'm losing my edge to the art-school Lille 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Five Americans to the rap 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 Circle Jerks. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Gabor Szabo,
Yazoo,
The Chocolate Watch Band,
The Durutti Column,
Scion,
Don Cherry,
The Fire Engines,
Camron Feat. Memphis Bleek And Beenie Seigel,
Minnie Riperton,
Model 500,
Joyce Sims,
These Immortal Souls,
Nas,
Lalann,
Grauzone,
Rhythim Is Rhythim,
Infiniti,
The Litter,
Sad Lovers and Giants,
Howard Jones,
Rufus Thomas,
Be Bop Deluxe,
The Alarm Clocks,
Public Image Ltd.,
Amon Düül II,
Newcleus,
Lou Christie,
Ice-T,
Gang Green,
Terror Squad Feat. Camron,
Electric Light Orchestra,
U.S. Maple,
Man Eating Sloth,
Tropical Tobacco,
Ken Boothe,
Wighnomy Brothers & Robag Wruhme,
Trumans Water,
Ronnie Foster,
Bronski Beat,
The Leaves,
Bang on a Can All-Stars,
Alison Limerick,
H. Thieme,
Oblivians,
The Saints,
Roy Ayers Ubiquity,
Dorothy Ashby,
The Birthday Party,
Delta 5,
Beasts of Bourbon,
Roger Hodgson,
Tres Demented,
Kango’s Stein Massive,
The Sound,
Ohio Players,
Sugar Minott,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.