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 Ecuador and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Spokane.
I'm losing my edge to the art-school Philadelphia 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 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 The Moleskins to the disco kids.
I played it at Cafe Wha.
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 Cluster. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Joy Division 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 '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a AZ record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Masters at Work,
The Fortunes,
Blossom Toes,
Cabaret Voltaire,
Index,
ABBA,
Big Daddy Kane,
Ultimate Spinach,
Ultra Naté,
The Mojo Men,
Nation of Ulysses,
Nirvana,
Kenny Larkin,
John Foxx,
Soft Machine,
Gil Scott-Heron & Brian Jackson,
New York Dolls,
Cecil Taylor,
Amon Düül,
Peter Gordon & Love of Life Orchestra,
K-Klass,
The Stooges,
the Association,
The Birthday Party,
Eric Dolphy,
D'Angelo,
Lyres,
Camouflage,
Pierre Henry,
Mary Jane Girls,
Magazine,
Skaos,
Sonny Sharrock,
Fear,
Terry Callier,
Ten City,
Leonard Cohen,
Terror Squad Feat. Camron,
Crime,
Organ,
The Blues Magoos,
Notorious Big And Bone Thugs,
Rahsaan Roland Kirk,
Mark Hollis,
Bootsy Collins,
Kerrie Biddell,
Urselle,
The Raincoats,
The Sonics,
cv313,
Kurtis Blow,
Zapp,
David Axelrod,
The Flesh Eaters,
the Normal,
Blancmange,
Jandek,
8 Eyed Spy,
Ajijia Myrayebe,
Fat Boys,
Grandmaster Flash,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.