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 Jamaica and from Madrid.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Seoul and Stockholm.
I'm losing my edge to the art-school Glasgow 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the synthesizer 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 Don Cherry to the grime kids.
I played it at the Astoria.
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 Arcadia. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Rhythm & Sound,
Tom Boy,
Avey Tare & Kría Brekkan,
The Velvet Underground,
Metal Thangz,
The Evens,
Susan Cadogan,
Marine Girls,
The Chocolate Watch Band,
Amon Düül,
Throbbing Gristle,
The Kinks,
Mark Hollis,
Gil Scott-Heron & Brian Jackson,
Dark Day,
Procol Harum,
Rhythim Is Rhythim,
Archie Shepp,
The New Christs,
Boogie Down Productions,
Gil Scott Heron,
Main Source,
Eden Ahbez,
Marc Almond,
Neil Young & Crazy Horse,
The Cure,
Zapp,
Schoolly D,
Q65,
It's A Beautiful Day,
The Human League,
Brick,
Rahsaan Roland Kirk,
Adolescents,
Fear,
Albert Ayler,
Wasted Youth,
Gerry Rafferty,
The Cosmic Jokers,
Yaz,
48th St. Collective,
The Raincoats,
Eric Dolphy,
Ultravox,
The Five Americans,
X-102,
Urselle,
Bush Tetras,
Fluxion,
June Days,
Gregory Isaacs,
Gastr Del Sol,
Stockholm Monsters,
Jandek,
Clear Light,
Harry Pussy,
Quadrant,
Lungfish,
Lafayette Afro Rock Band,
DeepChord presents Echospace,
Bill Near, Bill Near, Bill Near, Bill Near.
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.