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 Vietnam and from Jakarta.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Big Star practice in a loft in Memphis.
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 June Days to the grunge kids.
I played it at the Spitz.
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 Sugar Minott. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Connie Case,
Pierre Henry,
The Move,
Dennis Brown,
Youth Brigade,
John Coltrane,
Barbara Tucker,
Alton Ellis,
Agent Orange,
Todd Terry,
The Cramps,
Adolescents,
Theoretical Girls,
Judy Mowatt,
Bang On A Can,
Kango’s Stein Massive,
48th St. Collective,
Symarip,
David Axelrod,
Oneida,
DJ Sneak,
Aloha Tigers,
The Chocolate Watch Band,
Neil Young & Crazy Horse,
Larry & the Blue Notes,
Yaz,
Strawberry Alarm Clock,
Alison Limerick,
Dorothy Ashby,
The Golliwogs,
Bluetip,
Jeff Lynne,
UT,
Gang Starr,
Lou Reed & John Cale,
LL Cool J,
Cluster,
Lungfish,
Black Moon,
The Men They Couldn't Hang,
Junior Murvin,
Nico,
These Immortal Souls,
Rites of Spring,
Donny Hathaway,
Röyhkä ja Rättö ja Lehtisalo,
Graham Central Station,
Danielle Patucci,
Stetsasonic,
The Young Rascals,
PIL,
Swans,
Bobby Hutcherson,
Fad Gadget,
The Gladiators,
Sister Nancy,
Japan,
Slave,
Nick Fraelich,
The Neon Judgement,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.