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 Maldives and from Milan.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Bremen 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 theremin 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 Andrew Hill to the jazz 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 8 Eyed Spy. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every The Mummies 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Fear,
Los Fastidios,
The Barracudas,
John Coltrane,
The Velvet Underground,
Josef K,
Cecil Taylor,
Dawn Penn,
Ronnie Foster,
Sun Ra Arkestra,
Deepchord,
The Moleskins,
Soft Cell,
The Doors,
Scion,
The Zeros,
the Normal,
The United States of America,
Robert Wyatt,
Pere Ubu,
Unrelated Segments,
The Last Poets,
Barbara Tucker,
Country Joe & The Fish,
Marmalade,
Accadde A,
Lakeside,
Ultramagnetic MC's,
Lafayette Afro Rock Band,
Peter & Gordon,
Warsaw,
MC5,
Eve St. Jones,
Susan Cadogan,
Manfred Mann's Earth Band,
Intrusion,
Alison Limerick,
D'Angelo,
Pet Shop Boys,
The Young Rascals,
Rod Modell,
Art Ensemble Of Chicago,
Soul II Soul,
Todd Terry,
The Cure,
Grey Daturas,
The Vogues,
Vainqueur,
The Five Americans,
Marc Almond,
The Move,
Khruangbin,
Mark Hollis,
The Durutti Column,
The Fortunes,
Neu!,
H. Thieme,
Newcleus,
Lungfish,
Audionom, Audionom, Audionom, Audionom.
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.