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 Zimbabwe and from Portland.
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 Philadelphia and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Stetsasonic to the rock kids.
I played it at CBGB's.
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 Peter and Kerry. All the underground hits.
All Moss Icon tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rod Modell record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
The Smiths,
Electric Light Orchestra,
The J.B.'s,
Malaria!,
The Alarm Clocks,
Andrew Hill,
The Gories,
Aswad,
Soul Sonic Force,
Radiohead,
Man Eating Sloth,
Juan Atkins,
48th St. Collective,
The Moody Blues,
Soft Cell,
Stockholm Monsters,
Kango’s Stein Massive,
Black Flag,
Sticky Fingaz feat. Raekwon,
Fear,
Ornette Coleman,
Toni Rubio,
Young Marble Giants,
Flash Fearless,
John Cale,
PIL,
ABC,
Johnny Clarke,
Jandek,
Skaos,
Anakelly,
Richard Hell and the Voidoids,
Scratch Acid,
Matthew Halsall,
Ice-T,
The Standells,
Ajijia Myrayebe,
Ronan,
Lindisfarne,
Iggy Pop,
Barbara Tucker,
X-101,
Glambeats Corp.,
Glenn Branca,
Howard Jones,
Loose Ends,
Surgeon,
Strawberry Alarm Clock,
Kerri Chandler,
Hardrive,
The Dirtbombs,
Alphaville,
Deadbeat,
Deepchord,
Louis and Bebe Barron,
Todd Terry,
The Dave Clark Five,
The Busters,
Dead Boys,
Moss Icon,
Motorama,
Radiopuhelimet,
The Dead C,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.