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 Indonesia and from Paris.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Seoul.
I'm losing my edge to the art-school London 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 guitar 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 Can to the rap kids.
I played it at the Astoria.
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 Rhythim Is Rhythim. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Donny Hathaway record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Fad Gadget,
Pantaleimon,
James Chance & The Contortions,
Pantytec,
Ultravox,
the Bar-Kays,
La Düsseldorf,
The Music Machine,
Scrapy,
Gregory Isaacs,
Lonnie Liston Smith,
Magma,
Gil Scott-Heron & Brian Jackson,
The Dirtbombs,
Talk Talk,
The Skatalites,
Pharaoh Sanders and the Fire Engines,
The Moleskins,
Parry Music,
Surgeon,
Yusef Lateef,
Fatback Band,
Crooked Eye,
Interpol,
The Fuzztones,
Archie Shepp,
Eric Dolphy,
Jimmy McGriff,
Aural Exciters,
Prince Buster,
The Gun Club,
Lower 48,
Audionom,
Black Sheep,
Gastr Del Sol,
Popol Vuh,
Arab on Radar,
R.M.O.,
Kenny Larkin,
June of 44,
Stetsasonic,
Aswad,
Moss Icon,
DJ Style,
Black Pus,
New York Dolls,
Gang Gang Dance,
Cecil Taylor,
The Stooges,
The Sound,
Pylon,
Nils Olav,
Amazonics,
Susan Cadogan,
Marvin Gaye,
Inner City,
Dawn Penn,
Rapeman,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.