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 Romania and from Hong Kong.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Lou Reed 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 Traffic Nightmare to the dance kids.
I played it at the Spitz.
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 Fugazi. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every John Holt 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 '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Index record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
The Invisible,
48th St. Collective,
Pete Rock & C.L. Smooth,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aaron Thompson,
Masters at Work,
Steve Hackett,
Cal Tjader,
The Techniques,
Maurizio,
Juan Atkins,
Ultra Naté,
Yellowson,
The Golliwogs,
Nick Cave & The Bad Seeds,
Wings,
MC5,
Minor Threat,
Y Pants,
Excepter,
Josef K,
Lonnie Liston Smith,
Frankie Knuckles,
Pere Ubu,
Grandmaster Flash,
R.M.O.,
London Community Gospel Choir,
Curtis Mayfield,
Bluetip,
the Human League,
Patti Smith,
Boogie Down Productions,
Sun Ra,
Soft Machine,
Byron Stingily,
The Alarm Clocks,
Vainqueur,
Das Ding,
Liliput,
Rahsaan Roland Kirk,
Silicon Teens,
The United States of America,
Pagans,
Marmalade,
ABBA,
Lou Reed & Metallica,
Jeff Mills,
Wire,
Cluster,
Radio Birdman,
Siglo XX,
Minny Pops,
Roxy Music,
Essential Logic,
Sex Pistols,
Sight & Sound,
Zero Boys,
Peter Gordon & Love of Life Orchestra,
Symarip,
Spandau Ballet,
The Sound,
Severed Heads,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.