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 Switzerland and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Copenhagen 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 organ sounds with much patience.
I was there when Donald Fagen 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 Fort Wilson Riot to the jazz kids.
I played it at the Astoria.
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 Black Moon. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Teenage Jesus and the Jerks record.
I hear that you and your band have sold your oboe and bought a snare.
I hear that you and your band have sold your snare and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Al Stewart,
Supertramp,
Mark Hollis,
Arthur Verocai,
Fat Boys,
Marc Almond,
Aural Exciters,
Radiopuhelimet,
Cluster,
The Jesus and Mary Chain,
Barrington Levy,
Half Japanese,
Grandmaster Flash and the Furious Five,
The West Coast Pop Art Experimental Band,
Ornette Coleman,
Motorama,
Aswad,
Curtis Mayfield,
The Fall,
Girls At Our Best!,
Alton Ellis,
U.S. Maple,
UT,
Los Fastidios,
the Bar-Kays,
cv313,
Donny Hathaway,
Rites of Spring,
Saccharine Trust,
Ten City,
Thee Headcoats,
The Grass Roots,
Wire,
Patti Smith,
Beasts of Bourbon,
Pulsallama,
Ponytail,
Drive Like Jehu,
Skaos,
Henry Cow,
Joey Negro,
Major Organ And The Adding Machine,
Magma,
Average White Band,
Jimmy McGriff,
Carl Craig,
Bill Near,
Blancmange,
Niagra,
Tom Boy,
Swell Maps,
Gang of Four,
Von Mondo,
Peter and Kerry,
The Dead C,
James Chance & The Contortions,
Lizzy Mercier Descloux,
The Mighty Diamonds,
Ultramagnetic MC's,
Sound Behaviour,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.