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 Peru and from Lyon.
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 1974.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Salvador 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Visage to the grime 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 Ornette Coleman. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
the Association,
Con Funk Shun,
Ronan,
Barry Ungar,
The Move,
Infiniti,
Ronnie Foster,
Parry Music,
Kas Product,
Rotary Connection,
Neu!,
Sonic Youth,
X-Ray Spex,
Pharaoh Sanders and the Fire Engines,
Country Joe & The Fish,
The Gap Band,
Oppenheimer Analysis,
Desert Stars,
PIL,
Marshall Jefferson,
John Coltrane,
Pere Ubu,
Sexual Harrassment,
Charles Mingus,
Jeff Lynne,
Glambeats Corp.,
Justin Hinds & The Dominoes,
Ultra Naté,
Peter Gordon & Love of Life Orchestra,
The Pop Group,
Essential Logic,
The Blackbyrds,
The Mojo Men,
The Black Dice,
John Holt,
The Sisters of Mercy,
Iggy Pop,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Don Cherry,
Urselle,
The Associates,
Strawberry Alarm Clock,
Fugazi,
Cymande,
Alison Limerick,
Brick,
Scion,
Tres Demented,
Sun Ra Arkestra,
Monks,
Sun City Girls,
John Lydon,
Robert Görl,
A Flock of Seagulls,
The Moleskins,
Groovy Waters,
The Shadows of Knight,
Fifty Foot Hose,
The Happenings,
The Star Department,
Thee Headcoats, Thee Headcoats, Thee Headcoats, Thee Headcoats.
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.