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 Colombia and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Pete Rock & C.L. Smooth to the electroclash kids.
I played it at the Roxy.
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 Doors. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Young Marble Giants 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Don Cherry record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Jeru the Damaja,
Barbara Tucker,
Inner City,
Bobby Byrd,
Model 500,
A Flock of Seagulls,
Eurythmics,
This Heat,
Lou Christie,
Michelle Simonal,
Neu!,
Half Japanese,
Bang on a Can All-Stars,
Smog,
Whodini,
Joey Negro,
DeepChord presents Echospace,
These Immortal Souls,
Icehouse,
Masters at Work,
Brothers Johnson,
The Count Five,
Prince Buster,
Ornette Coleman,
Man Eating Sloth,
June of 44,
Sonic Youth,
Rod Modell,
Soul Sonic Force,
Vaughan Mason & Crew,
The Gories,
Sam Rivers,
Pete Rock & C.L. Smooth,
Rhythm & Sound,
Bronski Beat,
Lee Hazlewood,
Animal Collective,
Absolute Body Control,
Lou Reed & John Cale,
The Selecter,
Thee Headcoats,
Andrew Ashong & Theo Parrish,
Iggy Pop,
Terrestrial Tones,
Terry Callier,
Deadbeat,
Ossler,
June Days,
Anakelly,
The Invisible,
The Black Dice,
Letta Mbulu,
the Association,
The Evens,
Sun City Girls,
The Divine Comedy,
Rahsaan Roland Kirk,
Stetsasonic,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.