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 Belize and from Manchester.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Johannesburg.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 John Cale to the grime kids.
I played it at the Crocodile.
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 Thinking Fellers Union Local 282. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal electroclash 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 chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
L. Decosne,
Marmalade,
Dead Boys,
Mandrill,
The Mummies,
Erykah Badu,
Banda Bassotti,
Interpol,
Niagra,
Dorothy Ashby,
Gerry Rafferty,
The Selecter,
Bizarre Inc.,
Agitation Free,
The Happenings,
The American Breed,
Sun Ra,
Byron Stingily,
Saccharine Trust,
The United States of America,
Pere Ubu,
Wighnomy Brothers & Robag Wruhme,
Lee Hazlewood,
Sam Rivers,
Stiv Bators,
Fort Wilson Riot,
Dark Day,
Tom Boy,
Ice-T,
Cal Tjader,
Ultravox,
Metal Thangz,
The J.B.'s,
PIL,
The Fuzztones,
Pantytec,
The Music Machine,
Connie Case,
R.M.O.,
10cc,
Sarah Menescal,
New York Dolls,
Qualms,
Jeff Mills,
Neu!,
Nik Kershaw,
Wally Richardson,
Amazonics,
Flash Fearless,
Reuben Wilson,
Larry & the Blue Notes,
Kevin Saunderson,
Warsaw,
The Slackers,
Piero Umiliani,
Grey Daturas,
Anakelly,
Crime,
Sonic Youth,
Bang on a Can All-Stars,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.