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 Albania and from Taipei.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Delhi and Tokyo.
I'm losing my edge to the art-school Mexico City 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 Michael McDonald 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 10cc to the disco kids.
I played it at the 40 Watt.
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 Dead Boys. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Stockholm Monsters 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Eddi Front record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Technova,
Half Japanese,
Neil Young & Crazy Horse,
Aaron Thompson,
Bootsy Collins,
Susan Cadogan,
Teenage Jesus and the Jerks,
The Count Five,
The Last Poets,
Roxy Music,
Sun City Girls,
Surgeon,
Moby Grape,
Arcadia,
EPMD,
The Fire Engines,
Louis and Bebe Barron,
The Offenders,
Ronan,
Connie Case,
The Velvet Underground,
Todd Terry,
Be Bop Deluxe,
Avey Tare's Slasher Flicks,
The Tremeloes,
cv313,
Flamin' Groovies,
Lee Hazlewood,
Maleditus Sound,
Guru Guru,
Scott Walker + Sunn O))),
Ronnie Foster,
Country Teasers,
The Music Machine,
Stereo Dub,
Nirvana,
Soulsonic Force,
The Motions,
Negative Approach,
Kerri Chandler,
Robert Hood,
Blake Baxter,
Altered Images,
Massinfluence,
Bauhaus,
The American Breed,
Nick Fraelich,
Quando Quango,
Heaven 17,
Monks,
Aural Exciters,
David Bowie,
The Five Americans,
Barbara Tucker,
Harmonia,
Dual Sessions,
Jeru the Damaja,
Peter Gordon & Love of Life Orchestra,
Art Ensemble Of Chicago,
The Selecter,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.