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 Kuwait and from Taipei.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1974.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school Madrid 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 Kings Of Tomorrow to the electroclash 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 Zapp. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Hashim 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 '70s cut and another box set from the '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
OOIOO,
Liaisons Dangereuses,
Visionaries,LMNO, T- Love & Iriscience,
Grandmaster Flash and the Furious Five,
Carl Craig,
The West Coast Pop Art Experimental Band,
Swans,
Scion,
Marine Girls,
Altered Images,
Rahsaan Roland Kirk,
Young Marble Giants,
The Peanut Butter Conspiracy,
The Cowsills,
Ponytail,
Michelle Simonal,
Dawn Penn,
Joe Finger,
Lindisfarne,
Country Joe & The Fish,
Shoche,
Section 25,
Kango’s Stein Massive,
The Doors,
The Durutti Column,
Monks,
The Standells,
Babytalk,
The Sisters of Mercy,
Nico,
Don Cherry,
Cameo,
The Offenders,
Camouflage,
Judy Mowatt,
Man Parrish,
Delon & Dalcan,
DeepChord presents Echospace,
L. Decosne,
The Young Rascals,
Ajijia Myrayebe,
Jeff Lynne,
Sandy B,
Flash Fearless,
Frankie Knuckles,
Gabor Szabo,
Ituana,
Idris Muhammad,
Motorama,
Gichy Dan,
Freddie Wadling,
Saccharine Trust,
Rotary Connection,
Delta 5,
Fifty Foot Hose,
The Star Department,
The Black Dice,
The Five Americans,
Lou Reed & Metallica,
The Music Machine,
Sex Pistols,
Dorothy Ashby,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.