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 Cairo.
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 Bologna and Madrid.
I'm losing my edge to the art-school Taipei 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Gil Scott-Heron and Jamie xx to the punk kids.
I played it at the Roxy.
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 Aaron Thompson. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
DJ Sneak,
Thompson Twins,
AZ,
Flamin' Groovies,
Deakin,
Sonny Sharrock,
The Men They Couldn't Hang,
Juan Atkins,
Kerrie Biddell,
The Monochrome Set,
Drive Like Jehu,
Jandek,
Black Moon,
Jeff Mills,
The Angels of Light,
The Star Department,
Bush Tetras,
Josef K,
Ohio Players,
Mission of Burma,
Pagans,
Tim Buckley,
K-Klass,
kango's stein massive,
Agent Orange,
Flash Fearless,
the Fania All-Stars,
the Soft Cell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fluxion,
The Trojans,
Scratch Acid,
Maurizio,
Nick Cave & The Bad Seeds,
Alison Limerick,
Sun Ra Arkestra,
The J.B.'s,
Kaleidoscope,
The Gladiators,
Blake Baxter,
Magazine,
Echo & the Bunnymen,
Fifty Foot Hose,
Popol Vuh,
The Wake,
Lebanon Hanover,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
Archie Shepp,
PIL,
Aloha Tigers,
Qualms,
The Cosmic Jokers,
Captain Beefheart & His Magic Band,
Johnny Clarke,
U.S. Maple,
Sällskapet,
Big Daddy Kane,
Stockholm Monsters,
Ash Ra Tempel,
L. Decosne,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.