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 Kosovo and from Portland.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Seoul 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 snare 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 Bang on a Can All-Stars to the rap 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 Cabaret Voltaire. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
The Residents,
The Fire Engines,
Cymande,
Pierre Henry,
Black Bananas,
Maleditus Sound,
B.T. Express,
The Doobie Brothers,
The Gap Band,
The Busters,
The Tremeloes,
Lizzy Mercier Descloux,
The Sound,
Buzzcocks,
Eyeless In Gaza,
The Dave Clark Five,
Lou Reed,
UT,
Bill Near,
World's Most,
Harry Pussy,
Aloha Tigers,
Model 500,
Lyres,
Wighnomy Brothers & Robag Wruhme,
X-Ray Spex,
Larry & the Blue Notes,
Procol Harum,
Country Joe & The Fish,
Prince Buster,
The Misunderstood,
Jeff Lynne,
Howard Jones,
The United States of America,
Vaughan Mason & Crew,
Barbara Tucker,
Terry Callier,
Youth Brigade,
Connie Case,
DJ Style,
Second Layer,
Davy DMX,
Mandrill,
Richard Hell and the Voidoids,
the Sonics,
Fela Kuti,
Mad Mike,
The Beau Brummels,
Lakeside,
the Swans,
Alphaville,
Albert Ayler,
Reagan Youth,
Chris & Cosey,
Hot Snakes,
Supertramp,
Aaron Thompson,
Be Bop Deluxe,
The Shadows of Knight,
Marcia Griffiths,
Kauko Röyhkä ja Narttu,
Intrusion,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.