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 Mauritius and from Tokyo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and Houston.
I'm losing my edge to the art-school Cairo 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 oboe 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 Yaz to the punk kids.
I played it at the Hacienda.
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 Connie Case. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Ultramagnetic MC's,
Audionom,
The Toasters,
Beasts of Bourbon,
Cabaret Voltaire,
The Real Kids,
Jacob Miller,
Jimmy McGriff,
Traffic Nightmare,
Al Stewart,
The Motions,
The Music Machine,
Electric Prunes,
Pulsallama,
Fifty Foot Hose,
Notorious BIG live in Amsterdam,
Au Pairs,
the Bar-Kays,
Amon Düül,
Prince Buster,
Ken Boothe,
The United States of America,
The Pop Group,
Stiv Bators,
Grey Daturas,
Anthony Braxton,
Visage,
Underground Resistance,
Public Image Ltd.,
Cybotron,
Joe Finger,
Blossom Toes,
Minutemen,
Mo-Dettes,
The Move,
Oblivians,
Bang on a Can All-Stars,
KRS-One,
The Martian,
Fluxion,
Glenn Branca,
Easy Going,
8 Eyed Spy,
Royal Trux,
Lizzy Mercier Descloux,
Justin Hinds & The Dominoes,
Terrestrial Tones,
Jerry Gold Smith,
Franke,
Livin' Joy,
Parry Music,
Deepchord,
Stetsasonic,
Agent Orange,
Black Bananas,
Louis and Bebe Barron,
Danielle Patucci,
Bootsy Collins,
Supertramp,
Andrew Hill,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.