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 Venezuela and from Taipei.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 rap kids.
I played it at Trash.
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 Black Sheep. All the underground hits.
All the Bar-Kays tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal funk 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 sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Patti Smith,
Curtis Mayfield,
Kool G Rap & DJ Polo,
Adolescents,
John Holt,
Sällskapet,
The Saints,
Fat Boys,
Talk Talk,
Terry Callier,
Faust,
Roy Ayers Ubiquity,
Scan 7,
The Modern Lovers,
London Community Gospel Choir,
Spoonie Gee,
Robert Görl,
Delta 5,
Sun Ra Arkestra,
Yellowson,
The Offenders,
Rowland S Howard / Lydia Lunch,
Masters at Work,
Super Lover Cee & Casanova Rud,
Prince Buster,
Don Cherry,
Barclay James Harvest,
Andrew Ashong & Theo Parrish,
Ponytail,
Marc Almond,
Skarface,
Brick,
U.S. Maple,
Sparks,
Rotary Connection,
Royal Trux,
The Barracudas,
Freddie Wadling,
Glenn Branca,
Youth Brigade,
Ten City,
Symarip,
The Searchers,
Lyres,
Agitation Free,
Marcia Griffiths,
Jimmy McGriff,
Gian Franco Pienzio,
Rufus Thomas,
Deutsch Amerikanische Freundschaft,
Tres Demented,
Eric B and Rakim,
Khruangbin,
Louis and Bebe Barron,
Niagra,
The Electric Prunes,
Marine Girls,
Faraquet,
The Gap Band,
Index,
Silicon Teens,
The Invisible,
Amon Düül,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.