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 El Salvador and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1978.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Johannesburg 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 Feelies practice in a loft in Haledon.
I was working on the sitar 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 48th St. Collective to the jazz kids.
I played it at the Troubador.
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 Moebius. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Bauhaus,
the Association,
Oppenheimer Analysis,
Warren Ellis,
These Immortal Souls,
Aswad,
John Lydon,
Deepchord,
World's Most,
Grey Daturas,
Hardrive,
The Sound,
The Trojans,
Terry Callier,
Mantronix,
Glenn Branca,
the Slits,
Bill Near,
Freddie Wadling,
Siglo XX,
Al Stewart,
Marcia Griffiths,
Anthony Braxton,
The Stooges,
Gastr Del Sol,
Oblivians,
The Fugs,
Gang Green,
Bang On A Can,
Judy Mowatt,
Franke,
The Dead C,
Kaleidoscope,
Shoche,
Slave,
Manfred Mann's Earth Band,
Colin Newman,
Major Organ And The Adding Machine,
The Happenings,
Brothers Johnson,
Fifty Foot Hose,
the Germs,
Main Source,
Albert Ayler,
Lucky Dragons,
X-102,
Avey Tare,
Flipper,
Popol Vuh,
Organ,
Neil Young,
Dorothy Ashby,
Ash Ra Tempel,
Patti Smith,
Scientists,
K-Klass,
The Count Five,
Traffic Nightmare,
Zapp,
Robert Hood,
Visionaries,LMNO, T- Love & Iriscience,
Orchestral Manoeuvres in the Dark,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.