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 East Timor and from Beijing.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1971.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Philadelphia 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 Mistral practice in a loft in Amsterdam.
I was working on the linndrum 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 Silicon Teens to the grunge kids.
I played it at Trash.
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 Toasters. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal rock 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 a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Kings Of Tomorrow,
The Residents,
Section 25,
Lou Christie,
Gil Scott-Heron and Jamie xx,
Brass Construction,
It's A Beautiful Day,
Fluxion,
Morten Harket,
June Days,
Suburban Knight,
The Walker Brothers,
Lalo Schifrin,
The Gun Club,
ABC,
The Fire Engines,
Dead Boys,
Ponytail,
Rhythm & Sound,
Curtis Mayfield,
The Birthday Party,
Moebius,
The Techniques,
Lyres,
Black Flag,
Idris Muhammad,
the Normal,
Bad Manners,
Tropical Tobacco,
Second Layer,
Cecil Taylor,
Junior Murvin,
Blancmange,
June of 44,
Drive Like Jehu,
Richard Hell and the Voidoids,
Derrick May,
Sunsets and Hearts,
Das Ding,
Jesper Dahlbäck,
Main Source,
Mr. Review,
The Gladiators,
Isaac Hayes,
Young Marble Giants,
Blake Baxter,
Desert Stars,
X-102,
E-Dancer,
U.S. Maple,
the Swans,
Visage,
These Immortal Souls,
Public Enemy,
kango's stein massive,
The Neon Judgement,
Banda Bassotti,
Mad Mike,
The Shadows of Knight,
Louis and Bebe Barron,
Fear,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.