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 St Lucia and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1972.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Stockholm 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Donald Fagen 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 Gladiators to the jazz kids.
I played it at the Hacienda.
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 Grauzone. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every The Zeros 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 rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro 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 Doors,
the Bar-Kays,
Terry Callier,
Sun City Girls,
Boz Scaggs,
Soft Cell,
10cc,
Ten City,
Derrick May,
Henry Cow,
The Electric Prunes,
Sister Nancy,
Erykah Badu,
cv313,
Echospace,
Gil Scott-Heron and Jamie xx,
Ossler,
Fad Gadget,
DNA,
L. Decosne,
Bang On A Can,
The American Breed,
Tomorrow,
These Immortal Souls,
Electric Prunes,
The Last Poets,
Bobbi Humphrey,
The Standells,
Q65,
Warsaw,
Rhythm & Sound,
Kenny Larkin,
Lower 48,
Röyhkä ja Rättö ja Lehtisalo,
The Victims,
Black Flag,
Pulsallama,
the Normal,
New Age Steppers,
Wighnomy Brothers & Robag Wruhme,
The Seeds,
John Cale,
Country Teasers,
John Holt,
Reuben Wilson,
Echo & the Bunnymen,
Bootsy's Rubber Band,
Oblivians,
Guru Guru,
The Invisible,
Wings,
The Blues Magoos,
Little Man,
Amon Düül II,
The Barracudas,
The Monks,
The Fortunes,
Throbbing Gristle,
Cluster,
Anthony Braxton,
Average White Band,
Captain Beefheart & His Magic Band,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.