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 Kazakhstan and from Hong Kong.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1972.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the harpsichord 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 John Coltrane to the dance 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 Alton Ellis. All the underground hits.
All Scott Walker + Sunn O))) 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 rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Eric Copeland,
Soft Cell,
Icehouse,
Pere Ubu,
The Real Kids,
Brass Construction,
Graham Central Station,
Kango’s Stein Massive,
Ultra Naté,
James Chance & The Contortions,
The Peanut Butter Conspiracy,
Lungfish,
Pantaleimon,
Sandy B,
The Trojans,
Althea and Donna,
Schoolly D,
Saccharine Trust,
Sight & Sound,
Cymande,
Peter & Gordon,
Supertramp,
Sound Behaviour,
Index,
Kerri Chandler,
Lou Reed,
Judy Mowatt,
The Martian,
DJ Sneak,
Thinking Fellers Union Local 282,
New Order,
Sixth Finger,
Visage,
Super Lover Cee & Casanova Rud,
The Red Krayola,
Radio Birdman,
Lebanon Hanover,
Oblivians,
Lou Reed & Metallica,
Tears for Fears,
Chris Corsano,
Leonard Cohen,
Gil Scott-Heron & Brian Jackson,
Cecil Taylor,
John Holt,
Minutemen,
Michelle Simonal,
Kauko Röyhkä ja Narttu,
Lou Christie,
Maleditus Sound,
Country Teasers,
Das Ding,
Harmonia,
Robert Görl,
Jawbox,
Art Ensemble Of Chicago,
A Flock of Seagulls,
Niagra,
Wally Richardson,
Severed Heads,
Spoonie Gee,
The Barracudas,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.