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 Australia and from Madrid.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Houston.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 In Retrospect to the punk kids.
I played it at the Crocodile.
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 Steve Hackett. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Moebius record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Sly & The Family Stone,
Colin Newman,
Oppenheimer Analysis,
Procol Harum,
The J.B.'s,
Lafayette Afro Rock Band,
the Germs,
Traffic Nightmare,
Davy DMX,
Swans,
James White and The Blacks,
Royal Trux,
Cecil Taylor,
The Kinks,
Glenn Branca,
Sonic Youth,
Stereo Dub,
The Dave Clark Five,
Buzzcocks,
Essential Logic,
Arcadia,
KRS-One,
Icehouse,
The Shadows of Knight,
Black Moon,
Gastr Del Sol,
Brand Nubian,
Red Lorry Yellow Lorry,
The Young Rascals,
Underground Resistance,
Siglo XX,
Kurtis Blow,
Liliput,
Marcia Griffiths,
David Axelrod,
Loose Ends,
Quadrant,
Anthony Braxton,
Stockholm Monsters,
Moebius,
Isaac Hayes,
The Tremeloes,
LL Cool J,
Oblivians,
Juan Atkins,
Flash Fearless,
China Crisis,
Spoonie Gee,
Japan,
Jimmy McGriff,
Duran Duran,
Moss Icon,
Jesper Dahlbäck,
Pet Shop Boys,
The Remains,
Donny Hathaway,
Tim Buckley,
Fad Gadget,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.