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 Georgia and from Winnipeg.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Salvador and Bremen.
I'm losing my edge to the art-school Lyon 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 United States of America to the funk kids.
I played it at the Hacienda.
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 Radio Birdman. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Sam Rivers,
Bill Near,
Ohio Players,
CMW,
Sarah Menescal,
Grandmaster Flash,
Rufus Thomas,
Soul Sonic Force,
Camron Feat. Memphis Bleek And Beenie Seigel,
KRS-One,
Jesper Dahlbäck,
Amazonics,
The Monochrome Set,
Buzzcocks,
Deutsch Amerikanische Freundschaft,
Matthew Halsall,
Bush Tetras,
Larry & the Blue Notes,
Max Romeo,
Bootsy's Rubber Band,
Robert Hood,
Depeche Mode,
Skriet,
Alton Ellis,
Jeru the Damaja,
Magazine,
Radiopuhelimet,
The Cowsills,
The Men They Couldn't Hang,
Richard Hell and the Voidoids,
Ossler,
Terry Callier,
Lalann,
Inner City,
Boogie Down Productions,
The Standells,
Blancmange,
Rites of Spring,
The Litter,
Gang of Four,
The Count Five,
Quantec,
Technova,
Warren Ellis,
David McCallum,
Traffic Nightmare,
Tommy Roe,
The Angels of Light,
The Flesh Eaters,
Eyeless In Gaza,
the Germs,
The Martian,
Newcleus,
AZ,
The Gladiators,
London Community Gospel Choir,
Susan Cadogan,
Echospace,
The Names,
Wings,
Rhythm & Sound,
The United States of America,
The Stooges, The Stooges, The Stooges, The Stooges.
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.