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 Syria and from Toronto.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Delhi and Halifax.
I'm losing my edge to the art-school Beijing 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 Feelies practice in a loft in Haledon.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 Swell Maps to the techno kids.
I played it at CBGB's.
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 The Modern Lovers. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Echo & the Bunnymen,
Tomorrow,
Junior Murvin,
The Tremeloes,
Justin Hinds & The Dominoes,
Technova,
The Black Dice,
The Selecter,
Pulsallama,
Lindisfarne,
Eli Mardock,
Deadbeat,
Ten City,
The Zeros,
Bob Dylan,
Neu!,
Funkadelic,
Massinfluence,
Reuben Wilson,
Niagra,
Boz Scaggs,
The Skatalites,
Archie Shepp,
Harmonia,
Heavy D & The Boyz,
The Cure,
Aswad,
Eve St. Jones,
Japan,
Electric Light Orchestra,
London Community Gospel Choir,
Kas Product,
Throbbing Gristle,
Ultra Naté,
Big Daddy Kane,
Negative Approach,
Zero Boys,
Pete Rock & C.L. Smooth,
The Leaves,
Joe Smooth,
Hoover,
The Moody Blues,
Robert Hood,
It's A Beautiful Day,
Graham Central Station,
Chris & Cosey,
The Sisters of Mercy,
cv313,
Pagans,
Amon Düül,
Barclay James Harvest,
Jimmy McGriff,
Ponytail,
Steve Hackett,
Warsaw,
The Divine Comedy,
The Misunderstood,
Bootsy Collins,
Neil Young & Crazy Horse,
The Electric Prunes,
48th St. Collective,
Marine Girls,
Danielle Patucci,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.