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 Russia and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Lagos and Toronto.
I'm losing my edge to the art-school Woodstock 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 David Bowie 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 L. Decosne to the techno 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 Flash Fearless. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Susan Cadogan,
Radio Birdman,
James Chance & The Contortions,
8 Eyed Spy,
Al Stewart,
Rapeman,
Audionom,
Echospace,
Black Moon,
The Seeds,
The Techniques,
Subhumans,
Rufus Thomas,
Laurel Aitken,
Gary Puckett & The Union Gap,
The Motions,
Animal Collective,
the Bar-Kays,
Bang on a Can All-Stars,
Television Personalities,
Michelle Simonal,
Byron Stingily,
R.M.O.,
Moss Icon,
Livin' Joy,
The Men They Couldn't Hang,
Icehouse,
Gian Franco Pienzio,
Jacques Brel,
The Royal Family And The Poor,
Freddie Wadling,
Bauhaus,
Lou Reed & John Cale,
Brick,
The Martian,
Chris Corsano,
Pantytec,
Agent Orange,
Rhythim Is Rhythim,
Delta 5,
Joe Smooth,
cv313,
Johnny Osbourne,
Kas Product,
The Knickerbockers,
Kool Moe Dee,
The Gladiators,
Soulsonic Force,
Sandy B,
Yusef Lateef,
Robert Hood,
Rhythm & Sound,
Blancmange,
PIL,
Circle Jerks,
Gastr Del Sol,
Avey Tare,
Vaughan Mason & Crew,
Pharoah Sanders,
The Evens,
Gang Starr,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.