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 Slovenia and from Accra.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Woodstock 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 Chic practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Slits to the techno kids.
I played it at Trash.
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 48th St. Collective. All the underground hits.
All Lucky Dragons tracks. I heard you have a vinyl of every Hasil Adkins 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nirvana,
Letta Mbulu,
Sex Pistols,
Clear Light,
Derrick May,
The Techniques,
Alice Coltrane,
Albert Ayler,
Pharaoh Sanders and the Fire Engines,
One Last Wish,
Banda Bassotti,
Adolescents,
Dark Day,
Kas Product,
Animal Collective,
Oneida,
Agitation Free,
Monolake,
This Heat,
Desert Stars,
Mars,
Avey Tare & Kría Brekkan,
Cabaret Voltaire,
Lou Reed,
Henry Cow,
Scion,
Crispian St. Peters,
the Bar-Kays,
Niagra,
Gastr Del Sol,
Pete Rock & C.L. Smooth,
Sexual Harrassment,
Outsiders,
Sixth Finger,
Buzzcocks,
Minny Pops,
Severed Heads,
The Grass Roots,
Arcadia,
The Five Americans,
Mary Jane Girls,
Trumans Water,
Qualms,
Siouxsie and the Banshees,
Bauhaus,
Vladislav Delay,
Big Daddy Kane,
Sarah Menescal,
Lakeside,
Rosa Yemen,
Funkadelic,
The Cure,
Judy Mowatt,
Barrington Levy,
Robert Görl,
DeepChord presents Echospace,
Amon Düül,
Ralphi Rosario,
Ronnie Foster,
Matthew Bourne,
Lizzy Mercier Descloux,
Electric Prunes,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.