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 Laos and from Beijing.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Lille.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 Saccharine Trust 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 Terry Callier. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Jacob Miller 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Icehouse,
Eve St. Jones,
Mo-Dettes,
Althea and Donna,
Khruangbin,
The Busters,
D'Angelo,
Chris Corsano,
Deakin,
The Neon Judgement,
Godley & Creme,
Lightning Bolt,
Rhythim Is Rhythim,
Darondo,
Major Organ And The Adding Machine,
La Düsseldorf,
The Seeds,
Camouflage,
The West Coast Pop Art Experimental Band,
Tropical Tobacco,
Q65,
The Modern Lovers,
Rowland S Howard / Lydia Lunch,
Radiopuhelimet,
Liaisons Dangereuses,
Lindisfarne,
Warsaw,
Marcia Griffiths,
Dennis Brown,
Archie Shepp,
Todd Terry,
Fluxion,
John Lydon,
Lou Reed & John Cale,
Index,
DJ Style,
Junior Murvin,
Malaria!,
The Residents,
Beasts of Bourbon,
June of 44,
Mission of Burma,
KRS-One,
Stiv Bators,
The Doors,
Echo & the Bunnymen,
Marc Almond,
Loose Ends,
Kerri Chandler,
Minny Pops,
Little Man,
The Vogues,
8 Eyed Spy,
The Moleskins,
Outsiders,
The Martian,
Nico,
The Happenings,
Eddi Front,
Bill Near,
David McCallum, David McCallum, David McCallum, David McCallum.
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.