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 Mali and from Tokyo.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Woodstock 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 sounds with much patience.
I was there when David Bowie 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 Avey Tare's Slasher Flicks 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 Donald Byrd. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Camron Feat. Memphis Bleek And Beenie Seigel record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Maurizio,
Hardrive,
Andrew Hill,
Unrelated Segments,
Heaven 17,
Eli Mardock,
Motorama,
The Remains,
David Bowie,
The Seeds,
The Moleskins,
Negative Approach,
Second Layer,
Laurel Aitken,
Hoover,
Excepter,
Rhythm & Sound,
Lower 48,
Hasil Adkins,
Amon Düül,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fela Kuti,
Sly & The Family Stone,
Barclay James Harvest,
The Flesh Eaters,
Alice Coltrane,
Scan 7,
Kevin Saunderson,
China Crisis,
Stetsasonic,
Tim Buckley,
The Doobie Brothers,
Dead Boys,
Grauzone,
Jacob Miller,
Bill Wells,
The Pretty Things,
Danielle Patucci,
Marc Romboy vs. Booka Shade,
Kurtis Blow,
The West Coast Pop Art Experimental Band,
Angels of Light & Akron/Family,
The Mighty Diamonds,
Fatback Band,
June Days,
Black Moon,
Wings,
Young Marble Giants,
Fluxion,
The Durutti Column,
The Birthday Party,
T.S.O.L.,
Skaos,
ABBA,
The J.B.'s,
The New Christs,
Kenny Larkin,
In Retrospect,
Liliput,
Prince Buster,
Kango’s Stein Massive,
Lakeside, Lakeside, Lakeside, Lakeside.
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.