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 Belarus and from Houston.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Halifax and Milan.
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 marimba 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 Cure to the techno 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 Vainqueur. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every One Last Wish 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Soft Machine,
The Pop Group,
Lee Hazlewood,
Byron Stingily,
Joensuu 1685,
Aaron Thompson,
L. Decosne,
Janne Schatter,
Simply Red,
Icehouse,
Stereo Dub,
Man Parrish,
Theoretical Girls,
Youth Brigade,
The Alarm Clocks,
Lebanon Hanover,
Agitation Free,
Flamin' Groovies,
In Retrospect,
Darondo,
Smog,
UT,
Godley & Creme,
Pussy Galore,
Dawn Penn,
OOIOO,
This Heat,
Andrew Hill,
The Gap Band,
Scratch Acid,
Boz Scaggs,
Rekid,
Avey Tare's Slasher Flicks,
DNA,
Kango’s Stein Massive,
Brothers Johnson,
Cymande,
Beasts of Bourbon,
Gang Starr,
the Slits,
Peter Gordon & Love of Life Orchestra,
Neil Young,
Strawberry Alarm Clock,
Connie Case,
KRS-One,
Arcadia,
The Smoke,
the Bar-Kays,
the Sonics,
Lower 48,
Ponytail,
Selector Dub Narcotic,
Tomorrow,
Gian Franco Pienzio,
Yellowson,
Parry Music,
The Sisters of Mercy,
Guru Guru,
Black Pus,
Roy Ayers Ubiquity,
John Holt, John Holt, John Holt, John Holt.
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.