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 Trinidad & Tobago and from Glasgow.
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 1977.
I'm losing my edge.
To all the kids in Seoul and Houston.
I'm losing my edge to the art-school Taipei 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 Feelies practice in a loft in Haledon.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Chrome to the dance kids.
I played it at Trash.
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 Harry Pussy. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every Black Pus record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
D'Angelo,
Kango’s Stein Massive,
David Axelrod,
Suburban Knight,
Quadrant,
Minnie Riperton,
Bang On A Can,
Tommy Roe,
Scott Walker,
a-ha,
Archie Shepp,
Japan,
Adolescents,
The Gladiators,
The Young Rascals,
The American Breed,
The Blackbyrds,
Aural Exciters,
The Residents,
Ultra Naté,
Lizzy Mercier Descloux,
Lucky Dragons,
Niagra,
Shoche,
Gabor Szabo,
Chris & Cosey,
The Cramps,
Nick Cave & The Bad Seeds,
Fear,
Intrusion,
Camron Feat. Jay Z And Juelz,
Josef K,
Deepchord,
Tomorrow,
PIL,
The Peanut Butter Conspiracy,
Joensuu 1685,
The Velvet Underground,
Roxette,
the Bar-Kays,
Piero Umiliani,
Scott Walker + Sunn O))),
Bizarre Inc.,
Angry Samoans,
Infiniti,
The Fugs,
Tubeway Army,
Davy DMX,
Robert Wyatt,
Jesper Dahlbäck,
Newcleus,
The Red Krayola,
The Mojo Men,
John Cale,
Marmalade,
Pantaleimon,
Qualms,
Crash Course in Science,
JFA,
The Buckinghams,
Mars,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.