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 Bologna.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Madrid and Mumbai.
I'm losing my edge to the art-school Spokane 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 sitar 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 Minutemen to the grime 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 Bootsy Collins. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal dance 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 snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Lyres,
Arthur Verocai,
Dennis Brown,
E-Dancer,
Adolescents,
Röyhkä ja Rättö ja Lehtisalo,
Pussy Galore,
Loose Ends,
Unrelated Segments,
Avey Tare's Slasher Flicks,
Visionaries,LMNO, T- Love & Iriscience,
Tubeway Army,
The Moody Blues,
The Seeds,
Amon Düül,
Eli Mardock,
Aaron Thompson,
James White and The Blacks,
David McCallum,
Stockholm Monsters,
Underground Resistance,
Andrew Hill,
Oneida,
Isaac Hayes,
U.S. Maple,
Lou Reed & Metallica,
Sunsets and Hearts,
Eric Dolphy,
Fifty Foot Hose,
Slick Rick,
Sound Behaviour,
Kool G Rap & DJ Polo,
The Men They Couldn't Hang,
Lightning Bolt,
a-ha,
Nico,
PIL,
Quantec,
The Happenings,
Japan,
Terror Squad Feat. Camron,
Terry Callier,
Lalo Schifrin,
Sun Ra Arkestra,
The Motions,
Joyce Sims,
Bill Near,
The Cowsills,
Davy DMX,
Sexual Harrassment,
Jeff Mills,
Bootsy's Rubber Band,
The Durutti Column,
Mark Hollis,
Man Parrish,
Spandau Ballet,
A Flock of Seagulls,
Lizzy Mercier Descloux,
Lalann,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.