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 Brazil and from Taipei.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 Johnny Osbourne to the jazz kids.
I played it at the 40 Watt.
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 China Crisis. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Gong record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Normal record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Sex Pistols,
Outsiders,
Blossom Toes,
The Durutti Column,
Radio Birdman,
Alton Ellis,
The Misunderstood,
Agitation Free,
Thinking Fellers Union Local 282,
Crash Course in Science,
Deepchord,
Jerry Gold Smith,
Arcadia,
New Age Steppers,
Ossler,
Letta Mbulu,
Oneida,
Popol Vuh,
Tom Boy,
The Gories,
KRS-One,
Pantaleimon,
Jacques Brel,
Talk Talk,
The Monochrome Set,
Matthew Halsall,
the Association,
Stiv Bators,
Darondo,
Icehouse,
Panda Bear,
The Last Poets,
Super Lover Cee & Casanova Rud,
Audionom,
Archie Shepp,
Chrome,
Bobby Womack,
Joey Negro,
Al Stewart,
Lakeside,
Matthew Bourne,
Soul II Soul,
Kool Moe Dee,
Absolute Body Control,
Mars,
Section 25,
Qualms,
The Fortunes,
Negative Approach,
Grey Daturas,
F. McDonald,
Nick Fraelich,
Lyres,
Skaos,
Visage,
The Angels of Light,
Toni Rubio,
Flipper,
Youth Brigade,
Pagans,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.