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 Cuba and from Paris.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Taipei.
I'm losing my edge to the art-school Mexico City 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 Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Fort Wilson Riot to the grunge 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 Bizarre Inc.. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal rap 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 arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Essential Logic,
The Shadows of Knight,
Maurizio,
The West Coast Pop Art Experimental Band,
The Index,
Accadde A,
The Raincoats,
The Modern Lovers,
Colin Newman,
Von Mondo,
Justin Hinds & The Dominoes,
Stiv Bators,
Quantec,
Visage,
Al Stewart,
Bob Dylan,
Ultimate Spinach,
Model 500,
Wire,
Frankie Knuckles,
Alison Limerick,
Cal Tjader,
E-Dancer,
Liliput,
John Foxx,
Interpol,
Crispy Ambulance,
Man Parrish,
Black Bananas,
Audionom,
Little Man,
The Martian,
Gil Scott-Heron and Jamie xx,
The Neon Judgement,
Yaz,
Ken Boothe,
Siglo XX,
Wally Richardson,
Pharaoh Sanders and the Fire Engines,
Avey Tare,
The Electric Prunes,
Lower 48,
Arcadia,
Rakim,
Fatback Band,
Visionaries,LMNO, T- Love & Iriscience,
The Sound,
Ohio Players,
Quadrant,
R.M.O.,
Public Enemy,
Eric Dolphy,
H. Thieme,
Pagans,
Godley & Creme,
Lightning Bolt,
Stockholm Monsters,
Stereo Dub,
Brothers Johnson,
Ash Ra Tempel,
Outsiders,
The Associates,
Neil Young & Crazy Horse,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.