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 Yemen and from Philadelphia.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 Beijing and Spokane.
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 Human League practice in a loft in Sheffield.
I was working on the snare sounds with much patience.
I was there when Lou Reed 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 Faraquet to the disco 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 The Names. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Throbbing Gristle 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 '80s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Seeds record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Ludus,
Au Pairs,
Minor Threat,
The Offenders,
D'Angelo,
Nation of Ulysses,
Sarah Menescal,
Connie Case,
Sly & The Family Stone,
Sam Rivers,
Public Image Ltd.,
Sonic Youth,
Godley & Creme,
London Community Gospel Choir,
Albert Ayler,
The Mojo Men,
Scrapy,
Dead Boys,
CMW,
Orchestral Manoeuvres in the Dark,
Kango’s Stein Massive,
Peter Gordon & Love of Life Orchestra,
Reuben Wilson,
Nils Olav,
Unwound,
Fear,
Grandmaster Flash and the Furious Five,
The Saints,
X-Ray Spex,
Flamin' Groovies,
Soft Machine,
Delon & Dalcan,
the Slits,
Gang Gang Dance,
Mandrill,
Animal Collective,
Supertramp,
Scott Walker,
Sun Ra Arkestra,
Judy Mowatt,
Ultimate Spinach,
Mr. Review,
Anthony Braxton,
Altered Images,
Bauhaus,
Stiv Bators,
Quantec,
World's Most,
Jerry's Kids,
Steve Hackett,
PIL,
Soulsonic Force,
Rakim,
Robert Wyatt,
The Blues Magoos,
Charles Mingus,
Louis and Bebe Barron,
The Detroit Cobras,
Mo-Dettes,
Sun City Girls,
Byron Stingily,
Rotary Connection,
The Flesh Eaters,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.