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 Saudi Arabia and from Taipei.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 James Chance & The Contortions to the dance kids.
I played it at CBGB's.
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 Germs. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal rap 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 a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gichy Dan,
Camouflage,
The Black Dice,
The Fuzztones,
In Retrospect,
Radiopuhelimet,
Pantaleimon,
Pagans,
The Last Poets,
The Litter,
Lonnie Liston Smith,
Sun City Girls,
Rod Modell,
Anakelly,
Louis and Bebe Barron,
James Chance & The Contortions,
Rakim,
Grandmaster Flash,
David Bowie,
The Names,
Sonny Sharrock,
James White and The Blacks,
Gil Scott-Heron and Jamie xx,
Gang Gang Dance,
Wasted Youth,
Kango’s Stein Massive,
Roger Hodgson,
Leonard Cohen,
John Lydon,
Boredoms,
Girls At Our Best!,
Roxy Music,
Prince Buster,
Soulsonic Force,
Babytalk,
Sonic Youth,
Jacques Brel,
Public Image Ltd.,
The Martian,
Accadde A,
Drexciya,
Slave,
Reuben Wilson,
The Neon Judgement,
Khruangbin,
Moby Grape,
The Gap Band,
Jesper Dahlbäck,
Terry Callier,
Wally Richardson,
The Tremeloes,
The Fall,
Gil Scott-Heron & Brian Jackson,
Lightning Bolt,
JFA,
Freddie Wadling,
Second Layer,
Laurel Aitken,
Stiv Bators,
Deadbeat,
Max Romeo,
June Days,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.