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 France and from Portland.
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 1965 to 1974.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the oboe 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 The Birthday Party to the disco kids.
I played it at the Crocodile.
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 Patti Smith. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal punk 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Sparks,
Ken Boothe,
Tomorrow,
Joy Division,
ABC,
Hasil Adkins,
Grandmaster Flash and the Furious Five,
The Red Krayola,
Yaz,
Moss Icon,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Warren Ellis,
Parry Music,
Ultravox,
Oneida,
Marcia Griffiths,
Ohio Players,
Groovy Waters,
Magazine,
Scratch Acid,
John Cale,
F. McDonald,
Liliput,
Organ,
L. Decosne,
Marmalade,
Louis and Bebe Barron,
Make Up,
Lalann,
The Mojo Men,
Andrew Hill,
Art Ensemble Of Chicago,
Spoonie Gee,
Vaughan Mason & Crew,
Von Mondo,
Avey Tare,
Flipper,
Sonny Sharrock,
The Associates,
Don Cherry,
Patti Smith,
Soul II Soul,
Terrestrial Tones,
Deakin,
Kango’s Stein Massive,
Anthony Braxton,
The Raincoats,
The Sonics,
Pagans,
Terry Callier,
Anakelly,
Mark Hollis,
Nico,
Throbbing Gristle,
Jandek,
Pharaoh Sanders and the Fire Engines,
Lou Reed & John Cale,
Monolake,
Crime,
Janne Schatter,
Stockholm Monsters,
Connie Case,
Saccharine Trust,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.