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 Egypt and from Bremen.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Manchester and Spokane.
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 organ 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 Crispy Ambulance to the disco kids.
I played it at the Hacienda.
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 Audionom. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Soulsonic Force 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minnie Riperton,
Leonard Cohen,
The Stooges,
Half Japanese,
Blossom Toes,
The Remains,
Motorama,
Camron Feat. Memphis Bleek And Beenie Seigel,
JFA,
Dawn Penn,
the Association,
Lizzy Mercier Descloux,
Bush Tetras,
Dead Boys,
The Last Poets,
Electric Prunes,
Deepchord,
Fad Gadget,
Vaughan Mason & Crew,
The Peanut Butter Conspiracy,
Michelle Simonal,
UT,
World's Most,
Scan 7,
Babytalk,
Jeru the Damaja,
Mo-Dettes,
The Evens,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Matthew Halsall,
Lee Hazlewood,
Symarip,
Silicon Teens,
Urselle,
The Chocolate Watch Band,
Zapp,
Kool G Rap & DJ Polo,
Ultra Naté,
Can,
John Coltrane,
PIL,
Arab on Radar,
Rufus Thomas,
Gang Starr,
Isaac Hayes,
Eric Dolphy,
Swell Maps,
EPMD,
The Busters,
Gary Puckett & The Union Gap,
Grandmaster Flash,
Rosa Yemen,
The Vogues,
Terrestrial Tones,
the Normal,
Marc Romboy vs. Booka Shade,
Crooked Eye,
Cameo,
Peter and Kerry,
Absolute Body Control,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.