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 Zimbabwe and from Jakarta.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Selecter to the grime 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 The Pretty Things. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch 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 '80s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Niagra,
Rites of Spring,
cv313,
Fort Wilson Riot,
Visionaries,LMNO, T- Love & Iriscience,
Scrapy,
the Sonics,
Pylon,
Roy Ayers,
The Toasters,
Bauhaus,
D'Angelo,
Mars,
Cybotron,
The Monochrome Set,
The Sound,
Altered Images,
Fear,
Ornette Coleman,
Erasure,
Q65,
Minnie Riperton,
Neil Young & Crazy Horse,
Scott Walker,
Hot Snakes,
Siglo XX,
The Gladiators,
Albert Ayler,
R.M.O.,
Faust,
Morten Harket,
F. McDonald,
Lungfish,
The Move,
Thee Headcoats,
Massinfluence,
Johnny Osbourne,
Steve Hackett,
Reuben Wilson,
Sun Ra,
Warren Ellis,
Black Flag,
Major Organ And The Adding Machine,
Silicon Teens,
Grauzone,
Japan,
B.T. Express,
Kango’s Stein Massive,
Ossler,
Chris Corsano,
Bobby Sherman,
Depeche Mode,
Donald Byrd,
Dark Day,
The Names,
Deepchord,
Trumans Water,
Manfred Mann's Earth Band,
The Durutti Column,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.