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 Algeria and from London.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Lille 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 Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Bobby Sherman to the rap 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 Adolescents. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every Can 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Andrew Ashong & Theo Parrish,
Symarip,
Magma,
Captain Beefheart & His Magic Band,
Section 25,
Ituana,
the Normal,
Nas,
F. McDonald,
The Sisters of Mercy,
Todd Rundgren,
Minor Threat,
Susan Cadogan,
Eve St. Jones,
Ornette Coleman,
Marcia Griffiths,
Spandau Ballet,
Thinking Fellers Union Local 282,
Be Bop Deluxe,
Crispian St. Peters,
The Electric Prunes,
Anthony Braxton,
Cabaret Voltaire,
The Moleskins,
Joy Division,
Bootsy's Rubber Band,
Grey Daturas,
Clear Light,
The Moody Blues,
Pharoah Sanders,
Zapp,
Oneida,
Sun Ra Arkestra,
Television Personalities,
Quantec,
Buzzcocks,
Danielle Patucci,
Ten City,
Depeche Mode,
Laurel Aitken,
Echospace,
Black Sheep,
The Slits,
Henry Cow,
Lungfish,
Kevin Saunderson,
Lee Hazlewood,
Don Cherry,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
Sonny Sharrock,
Warsaw,
Dave Gahan,
R.M.O.,
Negative Approach,
The Durutti Column,
Eden Ahbez,
The Chocolate Watch Band,
The Smoke, The Smoke, The Smoke, The Smoke.
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.