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 Colombia and from Houston.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Paris.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Liaisons Dangereuses to the crunk 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 Royal Trux. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Lindisfarne 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
It's A Beautiful Day,
The Fugs,
Ossler,
Boredoms,
Gian Franco Pienzio,
Lou Reed & John Cale,
Moss Icon,
Franke,
Oppenheimer Analysis,
Television,
Sam Rivers,
Nils Olav,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
X-Ray Spex,
Robert Görl,
Reagan Youth,
La Düsseldorf,
DJ Sneak,
H. Thieme,
Tubeway Army,
Boogie Down Productions,
Cluster,
Throbbing Gristle,
A Flock of Seagulls,
Siouxsie and the Banshees,
ABBA,
Eric Dolphy,
The Smiths,
Nick Fraelich,
John Cale,
Stereo Dub,
The Skatalites,
Flamin' Groovies,
Au Pairs,
Arab on Radar,
Animal Collective,
E-Dancer,
the Sonics,
Pierre Henry,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kool G Rap & DJ Polo,
the Normal,
Wire,
Mission of Burma,
DJ Style,
Ken Boothe,
Brass Construction,
Kayak,
Lindisfarne,
Gil Scott Heron,
John Holt,
Black Sheep,
Ajijia Myrayebe,
Cabaret Voltaire,
Albert Ayler,
The Monks,
Lebanon Hanover,
Accadde A,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.