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 Zimbabwe and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Beijing 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 snare 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 Sly & The Family Stone to the crunk kids.
I played it at the Roxy.
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 Sarah Menescal. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Dead Boys,
Marshall Jefferson,
Ralphi Rosario,
Radiopuhelimet,
Junior Murvin,
The Fall,
Amon Düül II,
Gang Green,
Von Mondo,
Buzzcocks,
Fat Boys,
The United States of America,
Scott Walker,
Little Man,
Supertramp,
Throbbing Gristle,
Ultravox,
Quantec,
Manfred Mann's Earth Band,
The Misunderstood,
Basic Channel,
Vladislav Delay,
Mission of Burma,
David Bowie,
Skriet,
The Fire Engines,
John Foxx,
Eric Dolphy,
Boogie Down Productions,
Lonnie Liston Smith,
Rahsaan Roland Kirk,
The Barracudas,
Darondo,
Oppenheimer Analysis,
Major Organ And The Adding Machine,
Magazine,
Mr. Review,
Lindisfarne,
Pylon,
John Cale,
Lucky Dragons,
Robert Wyatt,
Flipper,
Kenny Larkin,
Rekid,
James Chance & The Contortions,
Maurizio,
Strawberry Alarm Clock,
Jawbox,
The Sisters of Mercy,
Organ,
Gang Gang Dance,
Y Pants,
Suburban Knight,
Neil Young,
Laurel Aitken,
Erykah Badu,
Malaria!,
The Searchers,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.