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 Lebanon and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Lille 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 1975 at the first Throbbing Gristle practice in a loft in London.
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 The Mighty Diamonds to the grunge kids.
I played it at the Astoria.
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 Sonics. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Banda Bassotti record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The New Christs record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Ice-T,
Audionom,
Q65,
Liliput,
Heaven 17,
Oblivians,
Joey Negro,
The Barracudas,
Juan Atkins,
Ituana,
Sly & The Family Stone,
Ronnie Foster,
Lonnie Liston Smith,
Dark Day,
The Red Krayola,
L. Decosne,
Rufus Thomas,
The Electric Prunes,
Moby Grape,
Aswad,
Sexual Harrassment,
The Tremeloes,
Grandmaster Flash and the Furious Five,
Desert Stars,
Japan,
Todd Rundgren,
Monolake,
Sällskapet,
Excepter,
Theoretical Girls,
Avey Tare & Kría Brekkan,
David Axelrod,
Drive Like Jehu,
FM Einheit,
Sound Behaviour,
Unrelated Segments,
Lebanon Hanover,
The Doobie Brothers,
the Association,
Visionaries,LMNO, T- Love & Iriscience,
cv313,
Gil Scott-Heron and Jamie xx,
Saccharine Trust,
Fugazi,
Amon Düül II,
Main Source,
Sun Ra Arkestra,
Ohio Players,
The Pop Group,
Au Pairs,
Kool Moe Dee,
Jesper Dahlbäck,
Y Pants,
Nirvana,
The Stooges,
The Smoke,
Barry Ungar,
Popol Vuh,
Rod Modell,
Marcia Griffiths,
Inner City,
Severed Heads,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.