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 Micronesia and from Manchester.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Portland.
I'm losing my edge to the art-school Philadelphia 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 Soft Boys practice in a loft in Cambridge.
I was working on the clarinet 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 Electric Prunes to the grime 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 X-101. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal crunk 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Howard Jones,
Radiopuhelimet,
The Monochrome Set,
Black Sheep,
Cecil Taylor,
Kool Moe Dee,
Justin Hinds & The Dominoes,
Barrington Levy,
Sun Ra Arkestra,
Donny Hathaway,
Skarface,
Iggy Pop,
The Slackers,
The Remains,
Sonic Youth,
Nils Olav,
Radio Birdman,
The Residents,
Freddie Wadling,
Avey Tare & Kría Brekkan,
Graham Central Station,
Half Japanese,
Scan 7,
Dark Day,
Audionom,
Roxy Music,
Scratch Acid,
The Toasters,
Larry & the Blue Notes,
Ultravox,
Susan Cadogan,
Nick Cave & The Bad Seeds,
Mars,
DeepChord presents Echospace,
Gregory Isaacs,
The Techniques,
Hashim,
Charles Mingus,
John Holt,
Roy Ayers,
Derrick Morgan,
Minor Threat,
Warren Ellis,
Roxette,
Marcia Griffiths,
48th St. Collective,
Maurizio,
B.T. Express,
Shoche,
The Shadows of Knight,
Desert Stars,
the Bar-Kays,
Faust,
Boogie Down Productions,
Blake Baxter,
Tommy Roe,
Joe Finger,
The Young Rascals,
The Saints,
Anakelly,
Terry Callier,
Johnny Clarke,
Slave, Slave, Slave, Slave.
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.