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 Burkina and from Columbus.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Portland 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 1976 at the first Wire practice in a loft in Watford.
I was working on the oboe 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 Alice Coltrane to the jazz kids.
I played it at Cafe Wha.
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 Gang Gang Dance. All the underground hits.
All Technova tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Parry Music,
Sonny Sharrock,
James Chance & The Contortions,
Glambeats Corp.,
The Neon Judgement,
The Index,
Index,
Arcadia,
Agitation Free,
London Community Gospel Choir,
Gabor Szabo,
Deutsch Amerikanische Freundschaft,
the Association,
The Moleskins,
Gil Scott-Heron & Brian Jackson,
Deepchord,
Fela Kuti,
China Crisis,
Echospace,
The Monochrome Set,
Alice Coltrane,
Deadbeat,
The Kinks,
10cc,
The Saints,
The Angels of Light,
Tim Buckley,
Camouflage,
48th St. Collective,
Desert Stars,
Richard Hell and the Voidoids,
Harpers Bizarre,
Black Sheep,
Drexciya,
The Associates,
The Evens,
Althea and Donna,
Avey Tare's Slasher Flicks,
Roger Hodgson,
Tommy Roe,
Boogie Down Productions,
Neil Young & Crazy Horse,
Ituana,
Patti Smith,
Ultimate Spinach,
DNA,
Faraquet,
Arab on Radar,
Cluster,
Tom Boy,
Bootsy Collins,
Bad Manners,
Harry Pussy,
Hot Snakes,
Eric Copeland,
Soulsonic Force,
Von Mondo,
Rahsaan Roland Kirk,
Alphaville,
Erasure,
The Real Kids,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.