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 Burkina and from New York.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Lille and Shanghai.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Unwound to the techno 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 Siouxsie and the Banshees. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Boogie Down Productions record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Mantronix record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bronski Beat,
It's A Beautiful Day,
the Soft Cell,
The Skatalites,
Deepchord,
Tropical Tobacco,
London Community Gospel Choir,
DNA,
Brick,
Throbbing Gristle,
Gang Starr,
Curtis Mayfield,
Agent Orange,
Archie Shepp,
Ponytail,
Kango’s Stein Massive,
Roger Hodgson,
Au Pairs,
Outsiders,
Desert Stars,
Delta 5,
Quantec,
Angry Samoans,
Rakim,
The United States of America,
Crooked Eye,
Wally Richardson,
Rowland S Howard / Lydia Lunch,
Nick Fraelich,
KRS-One,
Bob Dylan,
Pierre Henry,
Max Romeo,
Porter Ricks,
Rosa Yemen,
Freddie Wadling,
Hot Snakes,
Jeff Mills,
Brand Nubian,
The Birthday Party,
Stereo Dub,
Quadrant,
Rahsaan Roland Kirk,
Soul Sonic Force,
Depeche Mode,
Scott Walker,
Minutemen,
Gabor Szabo,
Lyres,
Zero Boys,
Index,
Dawn Penn,
Notorious Big And Bone Thugs,
The Music Machine,
The Walker Brothers,
Pussy Galore,
X-Ray Spex,
Von Mondo,
Bobby Womack,
Scientists, Scientists, Scientists, Scientists.
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.