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 Solomon Islands and from Manchester.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Seoul and Tehran.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the organ 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 Bobby Hutcherson to the dance 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 Quantec. All the underground hits.
All Alton Ellis tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Black Moon,
Essential Logic,
Eurythmics,
Thinking Fellers Union Local 282,
Black Pus,
Tres Demented,
Reuben Wilson,
Cecil Taylor,
T. Rex,
Nirvana,
Fela Kuti,
Susan Cadogan,
DeepChord presents Echospace,
The Victims,
Orchestral Manoeuvres in the Dark,
The Red Krayola,
Echospace,
Morten Harket,
Grauzone,
Cal Tjader,
Sonny Sharrock,
Big Daddy Kane,
Parry Music,
Das Ding,
Barrington Levy,
Motorama,
The Durutti Column,
Wolf Eyes,
Be Bop Deluxe,
Lucky Dragons,
Fat Boys,
Lower 48,
JFA,
Flash Fearless,
Boz Scaggs,
Leonard Cohen,
The Martian,
Banda Bassotti,
Lungfish,
Khruangbin,
Schoolly D,
Danielle Patucci,
Tears for Fears,
The Music Machine,
the Normal,
Radiopuhelimet,
Robert Wyatt,
Eden Ahbez,
Johnny Osbourne,
Fear,
The Grass Roots,
New Age Steppers,
Maleditus Sound,
Skriet,
Joy Division,
Lightning Bolt,
The West Coast Pop Art Experimental Band,
Harry Pussy,
John Foxx,
Richard Hell and the Voidoids,
The Standells, The Standells, The Standells, The Standells.
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.