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 Mexico and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school New York 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the clarinet 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 Bush Tetras to the grunge kids.
I played it at the 40 Watt.
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 Lyres. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Jesper Dahlback,
Bang on a Can All-Stars,
Wings,
These Immortal Souls,
Neil Young & Crazy Horse,
Bobby Womack,
Gil Scott Heron,
Camberwell Now,
Brick,
Beasts of Bourbon,
Rowland S Howard / Lydia Lunch,
The Young Rascals,
The Last Poets,
Hoover,
Delta 5,
The Searchers,
Anakelly,
Terry Callier,
10cc,
Japan,
Jerry Gold Smith,
Roger Hodgson,
World's Most,
Leonard Cohen,
Procol Harum,
Groovy Waters,
Kerri Chandler,
Robert Görl,
Girls At Our Best!,
Dead Boys,
AZ,
Jawbox,
The Velvet Underground,
Lou Reed & John Cale,
Wasted Youth,
Orchestral Manoeuvres in the Dark,
The Misunderstood,
China Crisis,
Barclay James Harvest,
Todd Terry,
New Order,
Negative Approach,
the Fania All-Stars,
Sonic Youth,
Gerry Rafferty,
The Index,
Thompson Twins,
Unrelated Segments,
Los Fastidios,
Matthew Halsall,
Brass Construction,
Bootsy Collins,
Radiohead,
Q and Not U,
The Dead C,
Pole,
Justin Hinds & The Dominoes,
Al Stewart,
The Smoke,
Moby Grape,
The Victims, The Victims, The Victims, The Victims.
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.